The Bayreuth Year! It has been the most momentous in my artistic development and has impressed its stamp upon me for all time. I had the good fortune to stand for 3 months in personal intercourse with Richard Wagner and to learn from him what an enthusiastic disciple may learn from the greatest of masters. All that I am able to accomplish I owe to that Bayreuth apprenticeship. From that time forward I begin also to regard Art as the chief concern of my life. My strong sensuous inclinations, it is true, remain unchanged. Yet ultimately they are directly related to every artistic activity!
On the 2nd of March Richard Wagner personally conducted his “Lohengrin” at the Opera House. Richter and Sucher were at first apprehensive lest, since the Master had for so long a time refrained from directing theatrical performances, something might go awry; and they planted themselves to right and left in the orchestra, in order to assist in case any variations occurred. However, they soon abandoned their concerns after seeing how he—apart from the wonderful, suggestive power of his personality—guided the whole thing with the utmost technical perfection. It was a magnificent evening!
Müller sang Lohengrin; Kupfer-Berger, Elsa; Scaria, König; Nollet, Telramund; Materna, Ortrud. Choirs and orchestra splendid! Prelude: very, very slow, and of infinitely broad. Prelude in A-flat minor to “Du trugest ihm meine Klage,” very broad and full of expression. Swan Chorus trumpets begin pianissimo. The tempo to commence calmly, then greatly to increase! At the close (A major) very fiery and animated. No portamenti from the singers! Everything strictly in time! The recitative “Viel lieber todt als feig” not hurried; the orchestra subdued in “fp”. Procession of the knights to form the circle of combat fairly animated. Heerufer: all in tempo. Prayer in E-flat major, not too slow. The combat very rapid! Close of Act I not fast at the outset, but only gradually quickened.
Prelude to Act II. Cor anglais (short notation) once “mf”, the second time almost inaudibly soft! After “Gott!” (Ortrud) a fearfully long pause! Likewise before “Du wilde Seherin.” Bass clarinet for the F-sharp minor motto very slow; thereafter the dialogue flowing. “In Liebe” (B-flat major) sustained, then A to C-sharp (Hob.Nr.+) immediately connected. Oboes at “ins fernste Elend schickt” with a very strong crescendo. The figure (notation) very calm!
Invocation to the gods very rapid, vehement, and without pause before the entrance of the triplets. (D) “Nur eine Kraft” rather slow. Interlude quick (as notated). The choruses pianissimo very important! “Von ihm wird keine”—the crotchets marked slowly, yet without ritardando. Act III. Prelude not fast, yet fiery. At the Bridal Chorus, “Rauschen des Festes, seid nun entronnen,” a strong holding back of the tempo—
Revised English translation by Jo Cousins [© Jo Cousins | WAGNER Salon]