out to you, was felt very much on this occasion, and the public seemed painfully and unmistakably tired.  The tempi of the choruses seemed to me considerably too fast, and there was more than one break-down in this scene.  Altogether, without self-conceit, I may say that the Leipzig performance is inferior to ours, as you will probably hear from other quarters.  On the other hand the Leipzig public is in many respects superior to ours, and I feel convinced that the external success of yesterday’s performance will prove very considerable indeed.  The grand success of this work can no longer be denied; of that we should be glad, and the rest will follow sooner or later.  The actors, Rietz and Wirsing, were called after the first act, and after the last the representatives of the principal parts had to appear again.  T., who had come from Paris for this performance, was very dissatisfied with it.  I toned him down, not thinking it advisable to impair the chief thing by detailed criticism.  Before all, let it be stated that “Lohengrin” is the grandest work of art which we possess so far, and that the Leipzig theatre by performing it has done credit to itself.

If you have to write to Leipzig show yourself, to please me, friendly and appreciative of their goodwill, and of the success which cannot be denied.  The only remark you might make concerns the quick tempo of the choruses in Act II., Scene iii., and of the “Lohengrin” passage in the third act

[Here, Liszt illustrates with a 4-bar musical score example where the words, “Ath——­mest Du nicht die su—­ssen Dufte” are sung.]

as compared with your metronomic indication.  This is the more necessary as the chorus practically broke down, and these passages failed to produce their due effect.

On the next birthday of the Grand Duchess (April 8th) “Lohengrin” will be given here, with Gotze (at present professor of singing at the Leipzig Conservatoire, late first tenor of this theatre) and Frau Fastlinger, and about the middle of May Tichatschek will sing the part here twice.  Zigesar has also asked X. to sing Ortrud, and has offered her as well as Tichatschek very decent terms, but her answer is somewhat vague and undecided:  “Unless I have to go to England at that time,” etc.

Tichatschek is again behaving splendidly on this occasion, and I thank you for the few friendly lines you have written to him, for he really deserves it by his warm friendship for you and your works.  He came to Leipzig together with Krebs, and during the entr’acte we met at the buffet, when he told me that you had written to him, which I was very glad to hear.  The Hartels have sent you three hundred thalers for the nine pieces from “Lohengrin.”

Farewell, and let me soon hear from you.

Your

Franz.

January 8th, 1854.

144.

Dearest friend,

The “Rhinegold” is done, but I also am done for.  Latterly I had intentionally dulled my feeling by means of work, and avoided every opportunity of writing to you before its completion.  Today is the first forenoon when no pretext prevents me any longer from letting the long-nourished and pent-up grief break forth.  Let it break forth, then.  I can restrain it no longer.