Wagner has to stay in his room today; his facial neuralgia have worsened. He came to meet me with a letter to Hans Richter and read it to me. The contents instructed Richter to ask Niemann to direct today’s performance (a repeat of the first act of Die Walküre) and to consult me regarding Scheffsky and Eilers, to whom I have so faithfully assisted until now. Well, we shall see. I have already taken another look at Eilers and will visit the lady before the rehearsal to discuss some details with her. The rehearsal went well. Niemann already felt yesterday that drawing the sword from the ash trunk wasn’t natural. I said, “First of all, it’s not natural; you have to step to the other side. Devices for standing securely while doing so need to be created.”
Niemann quickly found the right approach, and now the stance and sword-drawing are highly effective. With Miss Scheffsky, I could only make minor changes during rehearsals. Tomorrow at 11 a.m., I will try to eliminate the common, unmotivated arm movements of singers; she is talented and will make a fine Sieglinde. But—my good Albert Eilers! I would never have believed that a singer who has been on stage for almost 20 years and is a capable musician still cannot stand and walk. How I struggled with Eilers, how I tried to make Hunding’s character clear to him, but—reproducing it, imitating it? Out of the question! If I were Wagner, I’d get another Hunding today. Professor Döpler arrived; we were both delighted to see each other again. He agreed with my suggestions regarding the dressing room arrangements: “Stay by my side, and it must work; I have a lot to do.” He lives in the Wagner Theatre and expressed the wish that I would also like to move up there.