54.
DEAR FRIEND,
I have just received your letter addressed Weymar, and hasten to place my humble services gladly at your disposal as regards the score of "Lohengrin" and the correspondence with Herr von Luttichau. Probably his Excellency will not be very willing to lend the work a second time; but I hope for a favourable result all the same.
In your place (forgive my friendly impertinence) I should certainly accept the Brussels offer, but with the one condition— conditio sine qua non—that they let you revise the translation and attend the general rehearsals. The performance and the success will have quite a different chance if you go to Brussels, and I am afraid that in your absence your "Lohengrin" might be a little compromised. The actual state of the Brussels theatre I do not know; some years ago it was somewhat in a muddle and very little adapted to serious work. Some time will in any case be required for the translation and rehearsals, but I advise you to make the condition of your presence at once and firmly. The traveling expenses are so small that the management can easily bear them; and if you agree, I shall answer the gentlemen in that sense as soon as they write to me.
Herr von Zigesar wrote to me urgently some days ago not to delay my return to Weymar any longer. Unfortunately I shall be detained here for about another fortnight by the serious illness of Princess M. About January 20th "Tannhauser" and "Lohengrin" will again be given, and towards the end of the season Tichatschek will probably be there and take the part.
By repeated desire, I have determined to publish my article on the Herder festival, together with the analysis of "Lohengrin," in a separate form. If you want to add some further remarks on it, let it be soon, so that I may be able to make use of them.
I enclose a few lines to Ritter. Kindly excuse me to him, and allow me to restore to you the possession and absolute disposal of your property after my return to Weymar. Great as is the temptation to weld at your "Wiland," I must abide by my resolution never to write a German opera.
I feel no vocation for it, and I lack the necessary patience to bother myself with German theatrical affairs. Altogether I think it more appropriate and easier to risk my first dramatic work on the Italian stage (which probably may happen in the spring of next year—1852—in Paris or London), and to stick there if I should succeed.
Germany is your property, and you her glory. Complete your
"Siegfried" soon. Of power and genius you have plenty; only do
not lose patience. Perhaps we shall soon see you again in
Germany; then you will reap what you have so nobly sown.
Your sincerely devoted