The worm hasn’t arrived yet; it comes from England, and part of it (the tail) is swimming in the canal. The set design for the second act is beautiful. Magnificent effects are achieved through the use of transparent lighting. However, this has gone too far; even the soffits and drooping foliage have been rendered transparent. The effect is no longer convincing, but rather jarring, because it is too unnatural. Reichenberg – Fafner – his voice, conveyed through a speaking tube, has a colossal impact. The entire scene has been widely discussed in the press, portrayed as something very daring. I myself shared this view and considered it one of the biggest pitfalls. But now it has had the opposite effect on me. The arrangement of the set pieces is already powerfully effective and creates an indescribable atmosphere. The initial awakening of the worm by Wotan, the futile attempt to show it the danger, Fafner’s last words: “Let me sleep” cuts off the peak of the comedy for the viewer and listener. The singing of the forest bird (Lilli Lehmann), the cutting of Siegfried’s reed pipe, the quarrel between Mime and Alberich, all bear the stamp of the extraordinary, we are captivated by the predominantly poetic, and in the end, one does not know which of the preceding acts was the most beautiful.
Yesterday morning the master came to the children’s lesson, in a particularly cheerful mood. “When I hear your violin, I remember the wonderful time we spent together last year. You must stay with me today; Kögl, the Hagen singer, is coming for rehearsal. He has a beautiful voice, almost too noble for Hagen, but I fear he lacks acting talent. I’m very tempted to get Scaria (I was taken aback!).” Ah, he’s already regretting that he can’t be there, well, we’ll see. It would be quite good if Kögl sang Hunding; I find it repulsive to see Eilers, who is killed in Das Rheingold, reappear as Hunding in the Walküre on the very second day.
Before Kögl arrived for the rehearsal, I had breakfast with the master and told him about Dr. Baldamus. “In Cöthen? 21 years ago?” said Wagner. “Back then I was just a fugitive, I have no idea about the man, but if he brings me nightingales to my garden in two years, then he should attend the main performance this year and next.” I intend to inform Baldamus of this as soon as possible.
Kögl has a wonderful voice, but he’s a schoolmaster, I fear of the same ilk as Eilers. He was very happy that Wagner took the “Donner” role away from him again. In yesterday’s rehearsal, Wagner hinted at giving him Hunding. This horrified him completely. He begged me earnestly to use all my influence to persuade Wagner not to do so.