At 11 o’clock the singers of the second scene of “Rheingold” were summoned to Wagner to determine positions, gestures, etc. It is the same with Unger; they’re not getting more courageous, because today he wants it one way and tomorrow another. It’s practically impossible to keep track of the scene in all its fluctuations. He constantly interrupts and demands extremely strange things, which confuse the actors (who are not on stage for the first time). For example, he demanded that the two giants appear with a special gait when crossing the mountainous hills. He demonstrated it to them in such a strangely comical way that I intervened and (secretly) said to him: “Master, that won’t do, that’s unnatural, I’ll show you how I envisioned it” (a heavy, plodding gait according to the motif). “Quite good, quite good,” said Wagner, “my step was no good.” He also wanted Eilers (Fasolt) to make completely unnatural gestures again, which I had to correct.
During all these arrangement rehearsals, however, I become worried about Wagner’s health. He jumps between the singers, stands next to them, and demonstrates the gestures. His lively temperament makes him forget what he said and ordered yesterday regarding the scenes, the position, and the change of position. And if one or the other comes along and says: “Dear Master, yesterday you decided this way or that,” then the response is immediately, with strong words: “No, no, I want it this way today.” And tomorrow he’ll say: “You can leave it as it is.” (If something like that happened to me, as an actor or singer, from a director? – I think I would…). Nevertheless, I hope that I will still manage to take control of the matter without Wagner noticing. In the afternoon I went to Eilers’ and taught him the five bars; we both made every effort for this artistic achievement.
6 to 8 ½ o’clock scene rehearsal 2nd and 3rd scene Rheingold with orchestra and stage decoration but still without props. The same interruptions, the same stepping in and scene changes. It’s truly infuriating. The gymnasts’ entrance and exit are greeted with acclamation each time, and the whole scene is so simple. – The transformations between scenes using vapors work well, but the transformations and disappearance of Alberich through vapors and immersions leave much to be desired. Our good Hill is suffering greatly. The musicians are complaining that the fumes are seeping through the partition wall of the stage into the rear orchestra pit, and that this is why the harps can’t stay in tune. They are also complaining about drafts; it’s almost unbearable. Wagner has it checked, goes along himself, comes back, and calls out to the orchestra: “I composed the opera, and now I’m supposed to close the windows too?”