It is true that the hope of good receipts for next Easter had made me a little soft towards the Berlin project. Lord knows, I poor devil, should have liked to have a few thousand francs in my pocket, so as to divert my thoughts and cure myself of my terrible melancholy by a journey to Paris or Italy. However, I must bear this and remain in my old state of resignation and want. For all that I thus remain in want of, the unspeakable joy of seeing you at last in the summer will compensate me; believe me, that will make up for all.
But let us stick to the point. Time will be needed, but perhaps you will succeed in obtaining through the Prince and Princess for next winter the invitation and commission to perform my two last operas in Berlin. You will then probably begin with "Tannhauser". This would appear to me a more natural order of things: perhaps in the first half of the season "Tannhauser" and soon afterwards "Lohengrin". It is true that you cannot count upon my niece, who will be in Paris next winter. But there is little harm in this, for Elizabeth is not of the first importance, and as regards "Lohengrin" I am in a dilemma which it would perhaps be difficult to solve. Six years ago I intended Elsa for my niece; now she would have served me better as Ortrud.
Therefore—just as you decide; I am content with everything. From this day I shall have no further transactions with Berlin.
The Leipzig people also have eaten humble-pie; they have capitulated to me through Hartel. The performance there will probably take place soon. Could you occasionally look after it a little?
At Frankfort they will begin next Saturday. The conductor writes to me that he hopes for a good success. We shall see.
I have written to Luttichau and asked him not to perform "Lohengrin" at present, because I have not sufficient confidence in any of his conductors.
I am sorry to say I cannot write to T. He is very angry with me on account of my instructions for the rendering of "Tannhauser." Of course he cannot understand me.
Do arrange that about the close of the overture to the "Flying Dutchman." In case the one score should have been lost (a rather serious loss to me), let Fischer know, and he will send the new close to you; but do not give the overture without this change.
Herewith I send you another alteration; you will see where it belongs. The effect of the brass and the kettledrums was too coarse, too material; the spectator should be terror-struck by the cry of Senta on seeing the Dutchman, not by kettledrum and brass. God bless you. You will soon have news from me again.
Farewell, and remember kindly your