How are you, most excellent of men? It is too long since I heard from you. The rehearsals of Cellini, many visits from abroad, and several pieces and transcriptions for the pianoforte have much occupied my time during the last month.
Of the performance of Berlioz's opera H. gives a most detailed account in Brendel's paper. This much I may add: that the motives which made me select this opera proved to be right and favourable to the further progress of my work here. Why Cellini at Weymar? is a question which I need not answer to the first comer, but the practical solution of which will be such that we may be satisfied with it. Perhaps you yourself did not at first look upon the thing in the practical light in which it will appear to you later on. In any case I believe that you will agree with me, unless you are inclined to aim at thin air.
I have just been positively informed that you have handed in your petition for a free pardon at Dresden. How is this? Write to me as to this point, in perfect reliance on my discretion. I might possibly be of service to you in the matter.
A few days ago I saw here Madame B. D. She looks very well, and her husband is a handsome, decent gentleman. Among other things, she told me that she had been unable to understand the part of your preface which referred to her, and that her husband, after reading the passage several times, had remained in the same state of ignorance. As to the rest, she speaks well of you, and wishes very much to see Lohengrin here. Unfortunately Fraulein Fastlinger has left for Dresden, and Frau Knopp is continually ill, so that there is little hope of an immediate performance of that opera, for which even those are longing who formerly were of the opposition. Moreover, the deep court mourning in consequence of the death of Duchess Bernhard leaves me little hope that a performance of Lohengrin will be given by command. For next season, in February at the latest, the Flying Dutchman is set down. It would be a beautiful and gladsome thing if by that time you were back in Germany. We should then sing your finale of Tannhäuser, Er kehrt zuruck, with seven times seventy-seven throats and hearts. Have you any particular instructions for your Liebesmahl der Apostel? I think of producing it here in the course of the summer. At the next concert of the Gesangverein we shall have your Faust overture.
Franz Liszt
Source: Project Gutenberg eBook #3835, Correspondence of Wagner and Liszt — Volume 1, No. 74