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Updated: April 30, 2025
I cannot write to Madame Devrient; for that I am much too excited, and I know too well that my letters make no impression upon her. But if I have not yet worn out your friendly feeling toward me, and if I can be assured that you rely upon my fullest gratitude, I earnestly beg of you to go to Madame Devrient.
I had addressed letters, first through Eduard Devrient, and finally direct to the Grand Duke of Baden, asking the latter for a guarantee that I might settle, if not in Karlsruhe itself, at least in some small place in the neighbourhood.
It was observed that she quickly accommodated herself to the usages and style of the Italian stage, and soon appeared as if one "to the manner born." Toward the close of the engagement Mme. Devrient appeared for Malibran's benefit as Desdemona, Rubini being the Moor.
But, in spite of all his zeal, Devrient had to admit with a smile, after we had discussed his message, that nothing much could be done; and as I persisted in my refusal to meet the director again in consultation respecting the service of the theatre, he had at last to recognise that his own wisdom would have to help him out of the difficulty.
From this time forward, till I left Dresden, my intercourse with Eduard Devrient grew more and more friendly, though his dry nature and obvious limitations as an actor had attracted me but little before. At last I managed once more to resume my task of composing the third act of Lohengrin, which had been interrupted in the middle of the Bridal Scene, and I finished it by the end of the winter.
I had the gratification later of receiving an exceedingly warm appreciation of my rendering from Herr Eduard Devrient, a great Gluck connoisseur. After hearing this opera as presented by us, and comparing it with the Berlin performance, he heartily praised the tenderly modulated character of our rendering of certain parts, which, he said, had been given in Berlin with the coarsest bluntness.
I received special recognition from a man to whom I quite rightly gave the credit of being at least as well versed as myself in the matter. This was Eduard Devrient, who had been forced at that time to resign his position as stage manager-in-chief owing to a plot against him on the part of the actors, headed by his own brother Emil.
At the same time I received from Bulow, who had gone several times to Karlsruhe, fairly broad hints as to what Devrient was aiming at.
Devrient seemed particularly anxious to prevent a definite breach; but of this there was little hope. With the approach of winter the court had returned to town, and once more frequented the theatre, and various signs of dissatisfaction in high quarters with my behaviour as conductor began to be manifested.
When she noticed my indifference she again adjured me to use every possible effort to prevent the senseless, suicidal conflict. I heard afterwards that a charge of high treason on account of sedition had been brought against Schroder- Devrient by reason of her conduct in regard to this matter.
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