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Updated: May 28, 2025
In Dingelstedt's account I recognize two things: his friendly disposition towards me, with which he has been inspired by you, and his most absolute incapability, with all his aestheticism, of conceiving the slightest notion of what had to be conceived. The total confusion engendered in him by listening to my opera he transfers with bold self-reliance to my intentions and to the work itself.
If, proceeding from this basis with reasonable liberty and accelerating rather than holding back, they manage to obliterate the painful effect of the tempo altogether, and produce an emotional and poetic mode of speech, then all is gained. Dingelstedt's sympathetic and clever notice of the performance of my "Lohengrin" has impressed me very much.
That otherwise this kernel is overlooked by the most aesthetic and most intelligent hearers I have unfortunately again been shown by the clearest evidence, and I confess that in this respect Dingelstedt's account of my opera is present to my mind, causing me deep grief.
ZURICH, September 9th, 1850 I must today write you a few additional lines with reference to my recent long letter. Karl Ritter arrived here last night from his journey; and from his account I see that in my surmises as to certain points in the performance of "Lohengrin," founded chiefly on some striking remarks in Dingelstedt's notes, I have not hit the right thing.
First of all you will receive a letter concerning "Rienzi" from my chief and friend Dingelstedt. The opera is to be given here in January. Be kind enough to reply to Dingelstedt's letter with some POLITENESS, and do not be annoyed at my making this remark.
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