I was present at the first performance of “Tannhauser” at Gotha.  Capellmeister Lampert had taken much trouble, as had also Beer (Tannhauser), and the performance was, comparatively speaking, very satisfactory.  The musical part is better with us, but it is different with the dresses and scenery, which are much more tasteful at Gotha than at Weymar.  I have spoken very strongly on that point here; and as my prayers and admonitions in this respect have so far been of little avail, I am determined not to conduct “Tannhauser” and “Lohengrin” again until the necessary improvements in the scenery have been made.  This negative measure, which I had kept in reserve, will probably be effective.  In the meantime our opera remains in a stagnant condition.  Since the last performance of “Tannhduser” (December 10th), I have not been at my desk, neither shall I conduct the festival performance of “Belisario” on February 16th.  Nothing can be done till after the confinement of Frau Milde.

Apropos, what do you think of Meffert, the tenor?  Would he be any good to us, and how old is he?  Write to me about this.

You accuse me in your last letter of rarely giving you an answer.  This alludes, I presume, to two things:  Berlin and Dresden.  Alas! alas!  I cannot report from either place what I should wish and, in spite of all, still hope to report.  With wranglings and trifles I do not care to trouble you.

Stop; one thing I forgot to write to you:  your “Tristan” is a splendid idea; it may become a glorious work.  Do not abandon it.

You were quite right in arranging a new score of your “Faust” overture.  If you have succeeded in making the middle part a little more pliable, this work, significant as it was before, must have gained considerably.  Be kind enough to have a copy made, and send it me as soon as possible.  There will probably be some orchestral concerts here, and I should like to give this overture at the end of February.

Hartel is having the scores of Nos. 3 and 4 of my symphonic poems ("Les Preludes” and “Orpheus”) engraved.  I am as yet uncertain whether I shall publish the nine pieces together or these two numbers (3 and 4) in advance.  In any case I shall send you the proofs of “Les Preludes” and “Orpheus” before your departure to London, so that my scribbling may amuse you too.  I am sincerely grateful for your friendly proposal of producing something of mine at the Philharmonic, but I think it will be more advisable to leave it till next season (1856).  For the present you will have your hands full enough with your own things, and during the first year you ought to play a waiting game.  The chief thing for you is to gain firm ground in London, and first of all to impress your conception of Beethoven, Gluck, etc., on the orchestra and the public.  At the same time, the people should learn to listen to and understand the “Tannhauser” and “Faust”