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Updated: April 30, 2025
I invited all the friends in our circle, including Semper and Herwegh, and Devrient read us the Mark Antony scenes from Shakespeare's Julius Caesar. So happy was his interpretation of the part, that even Herwegh, who had approached the recitation from its outset in a spirit of ridicule, freely acknowledged the success of the practised actor's skilful manipulation.
Once more I ask you if possible to grant the "Tannhauser" and "Lohengrin" parts to the Carlsruhe festival, and kindly to write a few words to that effect to Devrient. I am off to the concert. Pardon me if I have put the bars in the wrong places, and whistle it better for yourself. Address Weymar. Here I am in the capital of the Grisons; all is grey, grey.
What state I am in you may unfortunately see from the fact that a few days ago I felt bound in conscience and duty to ask Devrient not to rely on "Tristan" or me any longer. This was bound to happen, and there is an end for the present. Much luck to the Leipzig festival. Farewell, and accept the best wishes of Your May 21st, 1859. Send Tausig to me; I hear he is disengaged.
I at once resumed my discourse, and I spoke with such fluency to the very end that the celebrated actor, Emil Devrient, assured me that, apart from the solemn service, he had been deeply impressed simply from the standpoint of a dramatic orator.
Devrient wrote a letter from my house to the Grand Duke of Baden, telling him his impressions about me and what he had found me like.
He and Cécile were married in her father's former church in March, 1837. During their honeymoon Felix wrote to his friend, Eduard Devrient, the famous actor, from the Bavarian highlands. A rare spirit of peace and contentment breathes through the letter.
But never did another word concerning the Fliegender Hollander pass his lips, beyond inquiries as to the second performance, and as to whether Devrient or some one else would appear in it.
Can you by that time prepare an orchestral work for the purpose? perhaps your "Faust" overture for I should like to produce a new work by you besides the "Tannhauser" overture. Eduard Devrient wrote to me some days ago that the Court Marshal, Count Leiningen, who is a friend of mine, had spoken to him of the plan for a musical festival, to be conducted by me.
He mentioned, as a striking instance of this, a brief chorus in C major of male and female nymphs in the third act. By the introduction of a more moderate tempo and very soft piano I had tried to free this from the original coarseness with which Devrient had heard it rendered in Berlin presumably with traditional fidelity.
Devrient has thought it desirable to make an excuse for the bungling and neglectful way in which he has taken up the idea of a first performance of "Tristan" at his theatre, by saying that it is impossible to execute the work. To that ALSO I do not reply. Why should I speak? I know my fate and my position, and remain silent.
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