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Updated: May 26, 2025
On this hypothesis I had already thought of dedicating Tannhauser to him, and to gain permission to do so I had to apply to Count Redern, the court musical director. From him I heard that the King could only accept the dedication of works which had actually been performed in his presence, and of which he thus had a personal knowledge.
She was full of hope for the success of my undertaking, and felt this confidence strengthened by the favourable prophecy which our dear Rosalie had made about me shortly before her sad death. For the present, however, I only stayed a few days in Leipzig, as I had first to visit Berlin in order to make definite arrangements with Count Redern for the performance of the Fliegender Hollander.
Strange to say, on my return to Germany soon afterwards, I was destined to learn that Count Redern had long since retired from the management of the Berlin Opera House, and that Kustner of Munich had already been appointed his successor; the upshot of this was that Count Redern's consent, though very courteous, could not by any means be taken seriously, as the realisation of it depended not on him but on his successor.
I realised fully that it would never be performed if I could not be present in person at Dresden. When eventually in March Count Redern, the director of the Theatre Royal in Berlin, told me that my Fliegender Hollander had been accepted for the opera there, I thought I had sufficient reason to return to Germany at all costs as soon as possible.
When the score was finished, I sent it to Meyerbeer in Berlin, with a letter for Count Redern, and begged him, as he had been unable to help me to anything in Paris, in spite of his desire to do so, to be kind enough to use his influence in Berlin in favour of my composition.
In this despairing mood I felt but little emotion when, on going to say good-bye to Count Redern, he told me with a very sad face the news, which had just arrived, of Mendelssohn's death. I certainly did not realise this stroke of fate, which Redern's obvious grief first brought to my notice.
All the arrangements for my rehearsals were entirely upset as soon as a visit from Jenny Lind was announced, and she occupied the Royal Opera exclusively for some time. During the delay thus caused I did all I could to attain my main object an introduction to the King and for this purpose made use of my former acquaintance with the court musical director, Count Redern.
Count William Redern, whom I met in Paris, told me that the ambassadors continued to believe I was destined to be made a minister and that he himself had also believed this; but that the King had changed his mind of further details he was ignorant. Doubtless since Rügen. August 15, Napoleon's day, was celebrated among other ways by a procession of Russian prisoners through the streets.
My chief mediator, to whom I always turned, was still Count Redern, and although my attention had been called to his staunch adherence to Meyerbeer, his extraordinary open and friendly manner always strengthened my belief in his honesty.
At last the only medium that remained open to me was the fact that the King could not possibly stay away from the performance of Rienzi, given at his express command, and on this conviction I based all further hope of approaching him. Whereupon Count Redern informed me, with an expression of deep despair, that on the very day of the first performance the monarch would be away on a hunting party.
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