[...] Just imagine, I am struggling with all my might at the moment to compose some music. Venus must learn to sing better! Shall I be successful? [...]
Ah, if the heavens would but clear again! How have I borne it these twelve months? But there is no help for it—despite the heavens and the autumn weather I must compose. And I have been writing as well. I shall send you the book soon. The verses for Tannhäuser are not yet properly finished in German; I give you the rough draft from which the French version has been made, and I had to compose on these French verses! [...] And "Madame Care" remains ever faithful!
But do not run away with a false impression. I would not go on with any project perforce. For example, I would not dream of troubling myself about this Paris Tannhäuser if I had to meet opposition or even to make sacrifices. On the contrary, I put a good face on this silly game simply because I am met with such goodwill. [...] The pianoforte rehearsals have now begun. Time is well spent. Every detail is submitted to my examination. I rejected the scheme of décor three times before it suited me. Now all these things will be perfect, and the performance itself—even if it falls short of the ideal—will at any rate be the best there has ever been, or is likely to be for some time to come. I rely principally on my hero—Niemann. The man has inexhaustible capacity. He is still very much a rough diamond and instinct has hitherto counted for everything with him. All he needs to do now, is to put himself under my guidance for months on end. Everything is to be studied to the last jot and tittle. For Elizabeth, too, I have a half-tamed young singer—Mlle. Sax. Her voice is marvellous and unspoiled and her talent very rich. She is entirely devoted to me. Venus—Madame Tedesco—specially engaged for me, has a superb face for her rôle, though her figure is a little too voluptuous. Her talent is very considerable and well suited to the part. My last difficulties were with Wolfram. I have finally got them to engage a Herr Morelli, a man of stately appearance with a most lovely voice. I must see next how he rehearses. Fortunately, the opera will not be given until I am perfectly satisfied with the results of rehearsal. [...]
I am already a favourite at the Opera. There is no longer any constraint in my relations with them. They have begun to understand me, they oppose me in nothing and are delighted with what we prepare to do. [...] I have already worked a little on the music for my new scene. Curious! At the time I wrote Tannhäuser, I was quite unable to portray the full intensity, the passion, of woman: what I might almost call ecstatic femininity. I have had to sweep all away and frame all afresh. Really, I am horrified at my former scene-painter's Venus! Well, it will be better this time—especially if this fog presages good weather. But the blithe and gay side of Tannhäuser is all good, and there I can alter nothing—the distilled essence of everything that has the flavour of the saga about it is in it.—Tannhäuser's sorrow and his penance, utterly successful—the grouping perfect. It is only in the passionate passages that I have need to retouch a little here and there. For instance, I have replaced a very insipid passage for the violins in Tannhäuser's outbreak at the close of Act II. by a new one which is satisfactory, though very difficult. I can lay anything upon my orchestra here; it is the first in the world. [...]
I have become extremely disinclined to make plans. I have not even made any for a performance of Tristan. I persist in thinking that the right thing is bound to come of itself sometime. In the meantime Queen Victoria has got it into her head that she wants to hear Lohengrin this winter. [...]
And now I am on the point of moving. From October 15th I shall be living at 3 rue d'Aumale. It is a little place and I hope I shall not have either to write or compose there—it can only be useful as a business office. I have practically lost my case; they will not pay me a penny of compensation. [...]
Source: Letters of Richard Wagner, Vol. 2, selected and ed. Wilhelm Altmann, trans. M. M. Bozman (J. M. Dent & Sons, 1927), No. 477