[...] I am greatly obliged to you. If I have let a few days pass before assuring you of my sincere and cordial acknowledgments, it is because your friendly letter further elucidated my present difficult position as regards public opinion on my recent works, and consequently I had many things to consider very carefully before I could give you an answer.
In the first place, I am glad to be able to give you a good account of the prospective performance of Tristan and Isolde. Two years ago at Karlsruhe, though the tenor, Schnorr, was quite equal to his rôle, the then prima donna [Garrigues] was quite unequal to hers, so that my opera Tristan had to be shelved. This time, in Vienna, I have been embarrassed by the tenor Ander's voice trouble, which began suddenly last summer and has become chronic, whereas Mme. Dustmann has completely conquered her part and promises to give a most admirable performance. This mishap involves no fault of mine and has no significance except that my adversaries use the occasion to assert anew that my operas are impossible of performance [...] Although rehearsals have been and are held up, I summoned the orchestra to one the other day and—without preparation—had several fragments of my work performed with the help of the two women singers who already know their rôles by heart. I was delighted by the clearness of the performance at short notice and also by the clamorous enthusiasm with which it was received by performers and audience alike. It was admitted on all hands that once more there had been a great deal of foolish talk about my work.—It is now settled that we are to begin regular rehearsals of the opera at the new year and hold the first performance in February. As I cannot possibly count on Ander this winter, the newly engaged tenor, Morini, is cast for the part of Tristan. As he is an excellent musician he will fill the rôle easily. In the meantime I think of going to Paris for two months. What I particularly wish to tell you now, however, is the following:
My creative work has long been interrupted. Oppressed by vexatious and long delays attending my attempts to get my works performed, I long to undertake some piece of artistic work which would occupy me pleasantly and distract my mind. At this time and to this end I do not feel that I can return to my great Nibelung cycle, preferring to postpone that to a period of public recognition.
My wish to apply myself to some easier, less exhausting and speedier work is reinforced by consideration of the difficulties with which I have to contend in getting my serious works performed, and I believe it is a happy thought, according with my mood and circumstances, to put in hand at once the execution of an earlier idea for a popular operatic comedy. The opera is called The Mastersingers of Nuremberg, and the chief hero is the jovial poet Hans Sachs. The subject is extraordinarily full of kindly humour, and I flatter myself that this plan, which is all my own, is something striking and original. The style in poetry and music shall be thoroughly light and popular, and this time I shall need neither a so-called first-class tenor nor a great tragic soprano; a rapid circulation through all theatres may be anticipated.
I must also confess that this project, which accords with my present frame of mind and need for cheerful light employment, has also suddenly become attractive to me in view of my relations with you [...] I engage to deliver this work—"The Mastersingers of Nuremberg, a great comic opera in three acts"—complete and ready for performance next winter. As soon as I have the poem finished, I promise to submit it to you at once, and from its character you will be able to decide whether you wish to undertake the publication of the opera itself. For the present, I retain the sum of 3000 francs (the receipt of which I herewith acknowledge), so kindly advanced by you, as a provisional payment in advance on the honorarium. [...]
I conclude by begging you most earnestly to maintain for a time absolute silence upon the scheme I have described. Premature discussion has already done me so much harm! [...]
Source: Letters of Richard Wagner, Vol. 2, selected and ed. Wilhelm Altmann, trans. M. M. Bozman (J. M. Dent & Sons, 1927), No. 503