R. still has numerous remarks to make, and matters of stage action (lighting, etc.) to examine. — He returns home in the afternoon much out of temper; the costumer had told him that Princess Hohenlohe had sent to inquire whether the costume of Venus would not be “à la Offenbach”. He begs me to write to the Princess on the matter, which I accordingly do. At half past six the performance of “Tannhäuser” — good beyond all expectations; nothing, indeed, as R. had truly conceived it, yet there is throughout a great deal of life. R. is repeatedly called to acknowledge thanks from the box; at the close he appears upon the stage with the singers, to me a most painful sensation.
Footnote: enclosed with the booklet is the (undated) evening review of the “Tannhäuser” performance by the Viennese press.
The enclosed criticism reads:
“(Court Opera Theatre.) Rarely, if ever, has Richard Wagner’s “Tannhäuser” been presented in Vienna in such a festive manner as this evening. The presence of the composer himself exercised an inspiring influence not only upon the singers and musicians participating in the performance, but also upon the audience. The rendering was most spirited and unusually precise; in every detail, in every touch, one could discern the master’s vigorous reign. Moreover, the performance held special interest in that it was based upon the version prepared for Paris — hitherto unknown here — though with certain modifications. Of this, however, we shall speak further in due course. For today we can confirm a veritable triumph — one celebrated by Wagner himself, by all the participating artists, and in a most distinguished and well-deserved manner by Herr Capellmeister Hans Richter. We can but offer our most unreserved commendation to all concerned, chorus and orchestra included. In particular, Frau Ehnn, as Elisabeth, gave us the most agreeable surprise, her present conception and execution of the part casting her former attempt far into the shade. At every moment that in the least invited it, there arose enthusiastic applause, which was also most liberally bestowed upon the other performers — namely Frau Materna, Fräulein Siegstädt, and the gentlemen Labatt, Scaria, and Bignio, &c. Since the performers themselves were greeted with such extraordinary expressions of favour, the evening became for Richard Wagner nothing less than a resounding ovation. After each act he was called for with tempestuous enthusiasm. During the first entr’actes he repeatedly stepped to the front of the box, in which also sat Frau Cosima Wagner and Countess Dönhoff, and bowed his thanks to the cheering audience waving their handkerchiefs. After the conclusion of the opera, however, he appeared upon the stage with the soloists, where a wreath was thrown to him; and as the applause would not cease, he addressed the audience in substance as follows: ‘It is now about fifteen years since I first heard my “Lohengrin” performed here…’ The cordial reception that he had met with on that former occasion would ever remain unforgettable to him. To-day, it would seem, the same was about to be repeated. The applause now bestowed upon the artists encouraged him to continue the presentation of his works so far as his strength might permit; and he trusted that, through these performances, they would stand forth yet more clearly before the eyes of the public than heretofore. And in this spirit, he once more expressed his heartfelt thanks for the gracious encouragement accorded him.’ — E.S.”
Revised English translation by Jo Cousins.