L.A.S. " F. Liszt ", Weimar 11 December 1857, to a friend [Carl Gottlieb REISSIGER]; 4 pages in-8 on blue paper; mounted in beige cloth folder with engraved portraits of Liszt and Wagner on the back covers, half-brown morocco slipcover with title on spine; in German.
A beautiful letter on Wagner's operas, and on his Dante-Symphony.
He rejoices at the excellent news that his friend sends him and wishes that their great and only friend [WAGNER] will soon be free from his oppressive fate. Rehearsals for Rienzi will begin towards the end of next month. He must confess that he does not want to make a final judgment until he has clarified certain aspects of the work, either by listening to the singers or by reading the complete score. Moreover, he would tend to listen to the good advice of his friend, who knows the work so well, instead of making proposals, more suited to the Weimar opera. Nevertheless, he will accede to his request and tell him everything that could be useful in case he decides to mount Rienzi in Dresden. He would welcome this, and would arrange to stage his show in Weimar, after his own in Dresden. Lohengrin has been performed in Weimar for quite some time without Strich, but Liszt has had to cut a few pieces; this will be evident on reading the mediocre copy of the score he uses in the theatre, which he makes available to his friend. He presumes that, thanks to Dr. Pohl, he received the score of RUBINSTEIN's oratorio, Paradise Lost, and gave it to Mr. Menert to copy for the orchestral parts (Liszt already has the singing parts). He will soon send him the revised score of his Dante-Symphony, and asks him to instruct Menert to transcribe the orchestral parts as well, as soon as possible. The copy used in Dresden is not suitable for future performances...
"An der freudebringenden Kunde die Sie mir heute mittheilen, nehme ich den herzlichsten Antheil. Gäbe doch der Himmel dass sie sich bald verwirklicht - und unser