I regret extremely that you could not come to the second performance [This might perhaps also be read "first performance.">[ of your "Manfred," and I believe that you would not have been dissatisfied with the musical preparation and performance of that work (which I count among your greatest successes). The whole impression was a thoroughly noble, deep, and elevating one, in accordance with my expectations. The part of Manfred was taken by Herr Potsch, who rendered it in a manly and intelligent manner. With regard to the mise-en-scene something might be said; yet it would be unfair not to speak in praise of the merits of the manager, Herr Genast. It seems to me therefore that it would be nice of you to write a friendly line of thanks to Herr Genast, and commission him to compliment Herr Potsch (Manfred) and the rest of the actors from you.
One only remark I will permit myself: the introduction music to the Ahriman chorus (D minor) is too short. Some sixty to a hundred bars of symphony, such as you understand how to write, would have a decidedly good effect there. Think the matter over, and then go fresh to your desk. Ahriman can stand some polyphonic phrases, and this is an occasion where one may rant and rage away quite comfortably.
Shall I send you your manuscript score back, or will you make me a lovely present of it? I am by no means an autograph-collector, but the score, if you don't require it any longer, would give me pleasure.
A thousand friendly greetings to Clara, and beg your wife to let me soon hear something of you.
In truest esteem and friendship,
Yours ever,
F. Liszt
Weymar, June 26th, 1852
85. To Peter Cornelius
[The exquisite poet-composer of the operas "The Barber of Baghdad," "The Cid," and "Gunlod," which have at last attained due recognition (1824-74).]