Correspondence of Wagner and Liszt — Volume 1

by Richard Wagner; Franz Liszt

When I conceived and wrote the second act, it had not escaped me how important it would be for the proper mood of the spectator to show that Elsa's contentment at the last words of Lohengrin is not really complete and genuine; the public should feel that Elsa violently forces herself to conquer her doubt, and we should in reality fear that, having once indulged in brooding over Lohengrin, she will finally succumb and ask the prohibited question. In the production of this general feeling of fear lies the only necessity for a third act in which that fear is realized; without it the opera should end here, for the chief problem would not only have been mooted, but satisfactorily solved. In order to produce this feeling very distinctly and tangibly, I invented the following dramatic point: Elsa is led by Lohengrin up the steps on the minster; on the topmost step she looks downwards with timid apprehension; her eye involuntarily seeks Frederick, of whom she is still thinking; at that moment her glance falls on Ortrud, who stands below, and raises her hand in a threatening manner. At this moment I introduce in the orchestra in F minor ff. the warning of Lohengrin, the significance of which has by this time been distinctly impressed upon us, and which, accompanied by Ortrud's impressive gesture, here indicates with absolute certainty, "Whatever happens, you will disobey the command in spite of all." Elsa then turns away in terror, and only when the king, after this interruption, once more proceeds towards the entrance of the minster with the bridal pair, does the curtain drop. What a pity then that that dramatic point was not made on the stage, and that the curtain dropped before the entry of the reminiscence in F minor! This not unimportant mistake was, no doubt, caused by the probably accidental neglect of a remark in the full score which, according to my previous wish, should, like similar other remarks, have been extracted for the benefit of the actors. I must fear that several other things have also remained unnoticed and unexecuted, and nothing confirms me so much in this fear as the account of Dingelstedt, who, in spite of his unmistakable goodwill, has evidently not taken in my opera because of the music.

Dearest Liszt, was I right when in the preface of my "Kunstwerk der Zukunft" I wrote that not the individual, but the community alone, could create genuine works of art? You have done the impossible, but, believe me, all must nowadays do the impossible in order to achieve what is really possible. What delights me more than all is to hear that you have not lost courage, and are going to try everything in order to support the opera, in spite of a certain disappointment around you, and even to put it on its legs. To assist you in this most laudable zeal I give you the following advice: Let Genast, whom I cordially thank for his friendship, before the resumption of "Lohengrin", call the whole personnel to a reading rehearsal; let the singers read their parts in connection, distinctly and expressively, from the printed libretto, in which there are unfortunately many misprints. Let Genast take the score, and from the remarks therein inserted explain to the singers the meaning of the situations and their connection with the music bar by bar. The devil must be in it if the matter could not then be put right, provided the intentions of the actors are good. Once more, let Genast go beyond his position as stage-manager, which, no doubt, he fills as well as any one, and let him become the guardian of the infants and the neglected.

By these words I by no means wish to express a definite doubt as to your singers in general or their achievements in this particular case. The fact that in a purely musical sense they took such care of their parts that you ventured with them upon the performance of this enormously difficult, because unfamiliar music is an excellent testimony in their favour. In the above I asked them for something which perhaps they have never been asked for before. I hope Genast will find it worth his while to explain this most specially to them, and that he will succeed in making them do justice to my demand. In that case he may boast of having been the chief participant in a revolution which will lift our theatrical routine out of its grooves.

The representative of Lohengrin alone appears, according to all accounts, really incapable. Would it not be possible to make in this instance a change of persons? To my mind everybody ought to be glad when Lohengrin enters, instead of which it appears that people were more pleased when he left the stage. At this moment I receive your letter, assuring me of your joy and friendship. What good spirits you are in!

I will close this long letter, which must have bored you very much, by comprising all the single points I have mentioned to you in a final and weighty bundle of prayers.

1. Arrange by the intervention of Genast that before the second performance the singers have another rehearsal according to the above indications. Let no scenic remark remain unnoticed.

2. Insist firmly and sharply that the singers perform in decisive and lively tempo what they take to be recitatives in my opera. By this means the duration of the opera will, according to my experience, be shortened by nearly an hour.

3. Further, I desire that, with the exception of the second part of Lohengrin's tale, which I determined from the beginning to cut, my opera should be given as it is, without any omissions.

If cuts are made, the chain of comprehension will be torn asunder, and my style, which the public are only just beginning to take in, so far from being made more accessible, will be further removed from the public and the actors. To capitulate to the enemy is not to conquer; the enemy himself must surrender; and that enemy is the laziness and flabbiness of our actors, who must be forcibly driven to feel and think. If I do not gain the victory, and have to capitulate in spite of my powerful ally, I shall go into no further battles. If my "Lohengrin" can be preserved only by tearing its well-calculated and artistic context to pieces, in other words if it has to be cut owing to the laziness of the actors, I shall abandon opera altogether. Weimar in that case will have no more interest for me, and I shall have written my last opera. With you, dear Liszt, who have so bravely accepted my battle, it lies to gain a complete victory for me. I do not know what more I could say; to you I have said enough. To Genast, for whom also this letter is intended, I shall write separately as soon as I know that my demand has not offended him. To Zigesar I write tomorrow.

In the meantime I post this letter in order not to incur the reproach of delay.