[...] I am unbusinesslike and neglect many a favourable opportunity simply because I find business details tiresome. For some years now, Italians have at different times called my attention to the good prospects for my Rienzi in Italy, especially with the nation in its present mood, if once the difficulties of a first performance of this opera in the Italian language were overcome. Some time ago a Marchese Martinellini, formerly lord high steward to the Grand Duchess of Tuscany, made a translation of Rienzi. Quite recently one Herr Marchesi, of Vienna, offered himself for a similar undertaking. Since then I have lost sight of him and I do not think he got far with it. If I am to take the matter up in earnest, I believe that the enterprise should be initiated in London. The Italian Opera there already has a French, and even a German, repertoire in addition. As regards equipment, chorus, ballet, etc., it is pretty well on a level with the Parisian Grand Opera, and consequently is incomparably better suited for a performance of Rienzi than the Parisian-Italian Opera, which as regards décor, chorus and ballet simply does not count. My idea, then, would be as follows: As you are London music-publishers, and business of this kind with the theatres is usually done there through the music-publishers, you might first of all commission a good Italian translation of Rienzi, get it performed by the London-Italian Opera and publish an (abridged) Italian edition there, perhaps with English libretto added. I am convinced that interest in my work would be redoubled in London. Once this theatre has taken the lead and the opera has caused the sensation which at this juncture it has for many reasons so good a chance of arousing, the big theatres of Italy will be open to us. It would then rest entirely with you to decide whether or not you should resign the Italian rights of the opera to Ricordi.
Note, by the way, that with a London edition you would come into collision with nobody, not even with me, because in existing circumstances we can maintain no rights in the opera in England, where the work is domaine publique. It is, then, a question simply of an unencumbered and profitable piece of business for you. I hope you will make a big profit on it, and all I hope from it for myself is that, if it turns out well, you will deduct something from my outstanding debt to you.
As regards this last, I abide by the conditions stated in my letter to you from Paris. [...]
While holding to my pledge, I may tell you that I have overcome my former disinclination to issuing a book of Songs, Raff having persuaded me of the saleability of such an article. I have ready to hand a collection of five compositions, which I count among the best of my works, for publication in German, English and French. I offer them to you forthwith. We can come to an agreement about the price. You can put it to my account later, but for the moment I am obliged to rely on your being able to make me this advance (which I conclude by asking as a favour) in the manner I have just suggested. My situation is, and continues to be, such that I cannot do without this special assistance. [...]
Source: Letters of Richard Wagner, Vol. 2, selected and ed. Wilhelm Altmann, trans. M. M. Bozman (J. M. Dent & Sons, 1927), No. 536