The effect of Berlioz's works can only be uncommonly good when the performance of them is satisfactory.
They are equally unsuited to the ordinary worthy theater and concert maker, because they require a higher artistic standpoint from the musician's side.
I looked through Kittl's [1809-68. Director of the Prague Conservatorium.] opera some years ago in a piano arrangement, and, between ourselves, I do not think the work will last. Kittl is a personal friend of mine, and I should have been glad to be able to give his work here; but…nevertheless…etc., etc.
Raff's "King Alfred" is a much more successful and important work; and, without wishing to injure Kittl, there is in Raff quite other musical stuff and grist. [Steckt doch in Raff ein ganz anderer musikalischer Kern and Kerl: untranslatable play on words.]
During your last stay in Weymar I spoke to you of Vesque's new opera "Der lustige Rath." Various local circumstances have delayed the performance at Vienna of this really pretty, nicely worked out opera. The mise-en-scene does not require any special efforts; the piece only requires a somewhat piquant and not unskillful soprano singer. Altogether the opera appears to me to be written in a charming style, not too superficially conservative, and to be one of the best among the new operas mezzo-carattere. In case you still have time and are not indisposed to give the opera in Frankfort, I can send you the score. You would do Vesque an essential service if you could give the opera soon, and would have friendly relations with him, for Vesque is a cultivated, intelligent, and first-rate man. [Vesque von Puttlingen (pseudonym, Hoven), 1803-83, Councillor of the Austrian Foreign Ministry, composer of songs and operas.] There are not too many such!
Yours in all friendship,
F. Liszt
Weimar, February 27th, 1853
98. To Heinrich Brockhaus, Bookseller in Leipzig
[Published in a German translation: La Mara, "Letters of
Musicians during Five Centuries, vol. ii., 1887.]