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Updated: May 19, 2025
The great singer Tichatschek, who had a positive genius for rhythm, was highly pleased by this; for he also had acquired the habit of compelling the chorus to great precision in very important entries, and maintained that if one only accentuated the first note properly, the rest followed as a matter of course.
Heine also told me that the mere prospect of having many new costumes, and especially new silver armour, had inspired Tichatschek with the liveliest desire to play this part, so that I might rely on him under any circumstances.
"Rienzi" with Tichatschek is to be given at Weymar in the course of the winter. Previous to that I shall go to Dresden, where I have promised Rietschel to pay my OLD debt to Weber, and to make ONE exception by playing several of Weber's pianoforte compositions at a concert for the benefit of the Weber monument, the model of which Rietschel has executed with incomparable mastery.
Consequently, although inwardly very humiliated, I hoped to gain some advantage for my work at the second performance, and was particularly desirous that this should take place with as little delay as possible. But Tichatschek was hoarse, and I had to possess my soul in patience for fully a week.
About the time of my birthday I had a visit from my old friend Tichatschek of Dresden, who remained faithful to his devotion and enthusiasm for me as far as so uncultured a person was capable of such emotions. On the morning of my birthday I was awakened in a touching way by the strains of my beloved Adagio from Beethoven's E minor Quartette.
He did not tell us anything new, however, for he said little about the details of the rendering; on the other hand, he expatiated upon the general interpretation, and I noticed that in doing this, he had accustomed himself to make the most decided allowances for the great singers, especially Schroder-Devrient and Tichatschek.
In 1839 she was at Dresden with Herr Tichatschek, one of the first tenors of Germany, a handsome man, with a powerful, sweet, and extensive voice. In June, 1841, she gave a performance at Berlin, to assist the Parisian subscription for a monument to Cherubini. The opera was "Les Deux Journées," in which she took her favorite part of Constance.
For Tichatschek maintained that this B minor was so lovely that something ought to be paid for it every time, and he put down a silver penny, inviting the others to do the same, to which they all responded merrily.
At length, towards evening, I sought out Tichatschek at the theatre. Without giving him a chance to speak, I brusquely asked him why he had interrupted the copyists' work.
Although Wachter was far from realising my conception of the Fliegender Hollander I could not conceal from myself the fact that Tichatschek was quite as far removed from the ideal Rienzi.
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