[...] I cannot understand why I should be perpetually bombarded with questions which would have been answered and settled long ago if you had made proper use of the letter of introduction I gave you to Charles Truinet (Nuitter). This friend has long been my agent in Paris. He knows all—my position and my rights, of which none have been relinquished. Some time ago he had to conduct the Lohengrin transactions commissioned by the then director of the Grand Opera, Perrin, and thereby found that I had a right to refuse my permission; just as formerly with Pasdeloup, to whom I gave the right to perform Rienzi.—Why then these everlasting lawyer-like obscurities?
At this point let me tell you that I have decided never—while the copyright is mine—to allow one of my operas to be performed in Paris, and I propose to use the concession made to you—while it lasts—simply as a means of forestalling other attempts at production. You yourself will no doubt decide ultimately that you must let Paris slide. I wish you would do it now and simply return me our contract. I know Paris and I feel it is against my honour to appear to set any store by Parisian successes. You can no doubt use the Lohengrin effects elsewhere.—
The Nibelungen Ring must certainly be translated by Forman, not by Corder! I have weighty reasons! [...]
Source: Letters of Richard Wagner, Vol. 2, selected and ed. Wilhelm Altmann, trans. M. M. Bozman (J. M. Dent & Sons, 1927), No. 733