Wagner's Letters

Correspondence by, to, and around Richard Wagner

Wagner’s letters form one of the great documentary records of nineteenth-century artistic life. They reveal the practical, intellectual, emotional, and ideological world behind the works: artistic plans, financial crises, theatrical battles, friendships, quarrels, patronage, exile, revolution, Bayreuth, family life, philosophical reflection, and the shifting circle of figures who helped shape Wagner’s public and private destiny.

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Showing letters involving Minna Wagner (34 total)

Date	From	To	Place	Words	Subject
July 25, 1842	Richard Wagner	Minna Wagner	Dresden	93	Wagner tells Minna that he has won Reissiger's enthusiasm by giving him the operatic subject Die hohe Braut and expects diligence from him in return. He also reports receiving a costly letter from Troupenas in Paris about musical arrangements, which prompted him to work late and finish them.
July 28, 1842	Richard Wagner	Minna Wagner	Dresden	438	Wagner writes tenderly and anxiously to Minna, saying Dresden feels empty without her and urging that they should not remain separated. He challenges her suggestion that a longer separation may be necessary by recalling how she stayed with him through far worse dangers after leaving Russia, when she could have sought safety elsewhere.
June 2, 1843	Richard Wagner	Minna Wagner	Dresden	348	Wagner tells Minna that Lipinski has reconciled with him and that Lindenau brought news that the king personally played through and enjoyed his composition. He describes the pressure of organizing the unveiling music, composing for the choral festival, conducting operas, and church duties, while deciding to take a mineral-water cure for his health despite feeling generally restored.
June 3, 1843	Richard Wagner	Minna Wagner	Dresden	62	Wagner tells Minna that the ceremony succeeded and that his chorus was judged decisively superior to Mendelssohn's, including by Lindenau and the court. He now must hurry work on The Love-Feast of the Apostles, while dismissing the evening's Norma with Mme. Werthmüller as tedious.
June 14, 1843	Richard Wagner	Minna Wagner	Dresden	282	Wagner tells Minna that The Flying Dutchman has won over the famously difficult Spohr, and that this success in Kassel gives him an important advantage. He reassures her about his health, describes heavy duties with opera, the Liedertafel, court and church appearances, and says his nearly finished choral composition should make a thrilling impression.
June 30, 1843	Richard Wagner	Minna Wagner	Dresden	199	Wagner tells Minna that he has finished the instrumentation of The Love-Feast of the Apostles and that its first choral rehearsal already drew enthusiastic applause from about 200 singers. He also describes public excitement around Rienzi in Dresden, with its Peace chorus and overture repeatedly requested and applauded in the Brühlschen Gardens restaurant.
July 1, 1843	Richard Wagner	Minna Wagner	Dresden	80	Wagner tells Minna that before the choral festival he wants to finish adapting Rienzi into a single-evening version, a task he has already begun and hopes to complete quickly. If he receives leave afterward, he wants this work behind him so he can devote himself fully to his new opera, Tannhäuser.
July 12, 1843	Richard Wagner	Minna Wagner	Dresden	75	Wagner excitedly tells Minna that Lüttichau has granted his leave and behaved toward him very graciously. He cannot depart until the following Monday or Tuesday because he must conduct an opera again, attend Lüttichau's Sunday invitation, and finish writing out the Rienzi adaptation.
January 8, 1844	Richard Wagner	Minna Wagner	Berlin	525	Wagner gives Minna a vivid account of The Flying Dutchman's Berlin performance, describing his initial anxiety before an unfamiliar audience and the gradual transformation of curiosity into overwhelming enthusiasm by the second act. He celebrates the singers, orchestra, staging, royal approval, and warm congratulations from Mendelssohn, while noting forthcoming social meetings with Meyerbeer and Kistner.
March 22, 1844	Richard Wagner	Minna Wagner	Hamburg	196	Wagner tells Minna that Rienzi has triumphed again in Hamburg despite the absence of Tichatschek and the wooden performance of Wurda in the title role. He takes pride that the opera itself carried the success, praises most of the singing and choruses, notes the enthusiasm of musicians and singers, and anticipates substantial royalties from many projected performances.
December 12, 1845	Richard Wagner	Minna Wagner	Dresden	221	Wagner reports to Minna from Berlin that Kistner wants to stage Rienzi the following September and that Count Redern hopes the king will commission Wagner's next opera, Lohengrin, for Berlin. He explains that no opera of his can be mounted there before Easter, describes Redern's attempt to arrange a royal reading of the new libretto, and notes Mme. Meyerbeer's strong support pending Meyerbeer's return.
September 20, 1847	Richard Wagner	Minna Wagner	Berlin	161	Wagner tells Minna from Berlin that preparations for Rienzi appear favorable, with Pfister eager and humble about his role and Taubert reasonable, well disposed, and zealous on Wagner's behalf. He believes the king's command has given him unusual leverage over Küstner and the theatre administration, making his position in Berlin stronger than ever.
September 22, 1847	Richard Wagner	Minna Wagner	Berlin	366	Wagner reports to Minna that the first Berlin ensemble rehearsal for Rienzi went well, with Taubert prepared, Mme. Koster diligent, strong choruses, and Pfister willing though technically untaught compared with Tichatschek. He describes unexpected proximity to the Koster family, conversations with Koster, an attempted call on Meyerbeer, and his sense that Berlin offers a more powerful platform for his work than Dresden.
September 26, 1847	Richard Wagner	Minna Wagner	Berlin	278	Wagner tells Minna that Berlin rehearsals are going exceptionally well, with punctual, serious singers and the prospect of a strong Rienzi ensemble, especially an excellent Irene and Mme. Koster as a singer he imagines for Elsa. He notes interest in reviving The Flying Dutchman with Koster, manages the devoted Pfister carefully, and plans to visit Tieck at Potsdam while still not having seen Meyerbeer.
July 11, 1848	Richard Wagner	Minna Wagner	Vienna	714	Wagner writes Minna from Vienna about an arduous journey through Breslau and a city transformed by revolutionary democratic energy, German colors, National Guard life, and a recently overthrown ministry. He meets Bauernfeld, then finds stronger support in Fischhof, who understands his artistic aims and plans to introduce him to Education Minister Exner so that Wagner's theatre or cultural scheme may gain official recognition and possible funding around the Kärntnertor-Theater.
July 15, 1848	Richard Wagner	Minna Wagner	Vienna	273	Wagner tells Minna that his Vienna plans are advancing well, with a meeting arranged at Fischhof's and support from figures such as Dr. Bacher and Vesque von Püttlingen, who want ministers to see the proposal. He says advisers believe he could obtain the Kärntnertor-Theater only by leaving Dresden to reorganize and manage it, and he contrasts Vienna's unified radical atmosphere with party friction elsewhere.
August 11, 1849	Richard Wagner	Minna Wagner	Zurich	307	Wagner writes Minna that separation is painful because it leaves him constantly uncertain about her health, but Liszt's latest letter shows active support, including 100 thalers and prospects for an annual income tied to Wagner's works. He urges her to bring Natalie to Switzerland as practical help, assures her that his passport and residence permit are in order, and says refugees there are irrelevant to his situation.
March 2, 1850	Richard Wagner	Minna Wagner	Paris	216	Wagner urges Minna to recognize Mme. Laussot's financial help as a noble response to the deep effect of his art on a sincere heart. He contrasts this freely offered support with theatrical success won by speculation and public shallowness, arguing that it provides the money they need without betraying his artistic nature.
March 13, 1850	Richard Wagner	Minna Wagner	Paris	130	Wagner tells Minna that he has decided to accept urgent invitations from friends in Bordeaux, who have sent travel money, because remaining in Paris has become useless and exhausting. He explains that Frau Laussot's and Frau Ritter's support is meant to spare him work against his nature, offering them an annual income without burdening anyone else.
March 17, 1850	Richard Wagner	Minna Wagner	Bordeaux	205	Wagner tells Minna that Bordeaux feels heavenly after Paris because the Laussot family and a wealthy German circle receive him with extraordinary kindness and devotion. He feels honored that his works are deeply known there and that these friends want to help him and Minna, though he still would not trade Switzerland for Bordeaux and remains homesick for it.
April 17, 1850	Richard Wagner	Minna Wagner	Paris	1,293	Wagner writes Minna a painful reckoning of their marriage, arguing that their essential natures have long been divided and that she has acted from duty rather than the unqualified love that would understand his artistic and political rebellion. Recalling their flight from Dresden, exile, reunion in Zurich, her hopes for a Paris career, and her hostility to his writings and convictions, he concludes that her latest letter has destroyed his remaining illusion that they can live together happily.
May 4, 1850	Richard Wagner	Minna Wagner	Geneva	471	From Geneva, Wagner writes Minna before a planned journey from Marseilles to Malta, Greece, and Asia Minor, presenting separation as a way to soften the misery caused by their opposed natures. He explains that he wants to escape books, modern art, and Germany's unchanged conditions through physical and spiritual travel, funded by a new London patron who will receive manuscripts of future works, while assuring Minna that support for her living expenses will come from London.
July 10, 1854	Richard Wagner	Minna Wagner	Sitten	243	Wagner tells Minna from Sitten that he regrets being drawn away from work in Zurich for what proves to be only a poor local musical festival rather than a true federal event. He complains of bad weather, premature arrival, a small church, inadequate musicians, likely acoustic problems, and says he may hand the affair to Methfessel and leave rather than act as kapellmeister for such wretched forces.
October 6, 1854	Richard Wagner	Minna Wagner	Zurich	355	Wagner tells Minna that he is not surprised she visited Röckel in Waldheim because her generous heart often rises above ordinary judgments, even when her understanding of certain characters remains limited. He praises the visit as fine and gallant, and says Röckel's iron firmness matches what he already knew of him.
May 4, 1855	Richard Wagner	Minna Wagner	London	1,276	Writing Minna from London, Wagner discusses delayed payments from Anderson and Sulzer, defends Mme. Wesendonck against gossip and Minna's suspicions, and comments wryly on domestic trust, his grey hairs, and a mistaken report of a gong stroke in the Tannhäuser Overture. He also reports mixed London concert experiences and reviews, criticizing performances of Weber and Fidelio, describing public demonstrations in his favor, and accusing Davison of hostile criticism that paradoxically spreads interest in Lohengrin through a published translation.
May 8, 1855	Richard Wagner	Minna Wagner	London	572	Writing from London, Wagner reports to Minna on the Philharmonic Society orchestra, praising individual players such as Sainton and the Belgian bassoonist while condemning the largely English ensemble as technically competent but mechanical and uninspired. He also describes the honor of a private quartet gathering and vents his bitterness at having to conduct English compositions he regards as correct but unimaginative.
June 12, 1855	Richard Wagner	Minna Wagner	London	531	Writing Minna from London, Wagner recounts being presented to Queen Victoria after a concert at which she and Prince Albert warmly applauded the Tannhäuser Overture and showed unusual interest in his conducting. He takes satisfaction in being received graciously by the English court despite his political exile and tells Minna to share the episode with friends and newspapers if it pleases her.
June 15, 1855	Richard Wagner	Minna Wagner	London	141	Writing Minna from London, Wagner describes a visit from Berlioz, whom he portrays as financially desperate and dependent on poorly paid concerts in England and Germany. He criticizes Berlioz's handling of Mozart and his accommodation to English taste, concluding harshly that Berlioz is driven by money and lacks depth.
June 11, 1856	Richard Wagner	Minna Wagner	Mornex	195	Writing Minna from Mornex, Wagner reports that his illness has worsened badly, leaving him in constant fear of renewed attacks and dependent on strict diet and rest under Dr. Coindet's advice. He also affectionately praises Fips for his touching behavior during the journey from Zurich, especially his distress at Minna's departure and his obedience afterward.
June 19, 1856	Richard Wagner	Minna Wagner	Mornex	364	Writing Minna from Mornex, Wagner insists that Natalie must leave their household because constant conflict over her incapacity is damaging Minna's health and making home life intolerable for him. He proposes continuing financial support of 100 francs quarterly so she can live elsewhere, possibly with the Trögers, and urges Minna to settle the matter before his return.
April 23, 1858	Richard Wagner	Minna Wagner	Zurich	431	Writing to Minna, Wagner pleads for patience and trust during her cure, saying her accusations and suspicion torture him but are partly excused by her poor health. He defends the purity of the relationship troubling her, notes that the lady's husband has reproached him only for failing to make that innocence clear to Minna, and insists his lifelong concern remains fixed on Minna's welfare.
April 27, 1858	Richard Wagner	Minna Wagner	Zurich	416	Writing to Minna, Wagner responds with bitter irony and desperation to her continued suspicion, saying that whether he is silent or open he only creates misunderstanding and unhappiness. He offers hyperbolically to submit every word, thought, composition, and action to her approval if that will convince her of his love, gratitude, loyalty, and desire to calm her fears.
May 3, 1858	Richard Wagner	Minna Wagner	Zurich	361	Writing to Minna, Wagner rejoices in the newly arrived Erard piano, whose soft and responsive tone promises practical help for composing, and says her recovery would be his remaining great joy. He urges her not to torment herself with suspicions or isolated phrases, asks her to focus on her cure and trust his actions, and calls for mutual patience in bearing their difficult life together.
June 3, 1858	Richard Wagner	Minna Wagner	Zurich	240	Writing to Minna, Wagner urges peace, an end to brooding, and trust that his intentions and actions will remain open and steady. He reports that the Wesendoncks have returned and that he has delicately informed Otto they should remain friendly but cease personal intercourse, insisting Minna must not interfere because he sees this as the only way to avoid further trouble while staying in Zurich.
No letters found.