produce one of my operas, only it must be Tannhauser, because, as he explained, this opera was identified with me among the Parisians, who would think it ridiculous to produce any other work under the name of 'Wagner.' As to my choice of a translator for the poem of this opera he seemed to entertain grave doubts: he asked whether I had not made a mistake, whereupon I tried to get more definite information about the capabilities of M. de Charnal, and discovered to my horror that this charming young man, who boasted that he had collaborated in a melodrama called Schinderhannes, which he thought was a German romantic subject, had not had the slightest conception of the character of the work he was handling.
As his enthusiasm moved me, I tried to shape some verses with him and make them practicable for musical purposes; but I failed utterly, and all my trouble was in vain. Bulow had once drawn my attention to Auguste de Gasperini, a young doctor who had ceased to practise, and whose acquaintance he had made in Baden-Baden, where he discovered that he was extraordinarily fond of my music. I called upon him without loss of time, and as he was not in Paris, I wrote to him. This man sent his friend Leroy to me with a letter of recommendation. He was a well-educated Parisian music-master, who won my esteem by his attractive personality. My confidence in him was aroused, because he at once dissuaded me from associating myself with an obscure journalist on a theatrical newspaper (in which character M. de Charnal finally disclosed himself), and advised me to go to Roger, a highly gifted and experienced operatic singer, who had been a favourite with the Parisian public and was master of the German language. This lifted a load from my heart: I accepted the invitation which Leroy arranged for me through another friend, who took me down to Roger's country place one day to meet him. I have forgotten the name of this large estate which was occupied by the Paris tenor, whose fame had been so celebrated up to that time; the chateau had once belonged to a marquis, and was built in a very sumptuous style and surrounded by extensive hunting-grounds. It was the desire to handle a gun and make use of these grounds (which he loved) that, only a short time before, had landed this charming singer in a terrible disaster which had shattered his right arm.
I found Roger, some months after the accident, completely recovered; but the forearm had had to be amputated. The question now was whether a famous mechanician, who had promised to make him a perfect substitute for the lost limb even in the matter of free gesticulation, would be able to carry out his task. He succeeded fairly well, as I saw with my own eyes some time later, when I witnessed Roger act in a benefit performance which the Grand Opera had given him, and use his arm so ingeniously that he received great applause for this reason alone. In spite of this he had to accept the fact that he was regarded as 'disabled,' and that his career at the Grand Opera in Paris had come to a close. For the time being he seemed to be glad to secure for himself some sort of literary occupation, and accepted with much pleasure my proposal that he should make a translation of Tannhauser for practical use. He sang to me the French text of some of the main themes which he had already translated, and they seemed to me good. After I had spent a day and a night with the singer, who had once been such a popular favourite, and was now condemned to look forward to a sad decline, I felt in very good spirits and full of hope, more especially as his intelligent way of approaching my opera gave me a pleasing idea of the extent to which it was possible to cultivate the French mind. In spite of this I had soon to give up the notion of Roger's working for me, as for a long time he was entirely absorbed in trying to make secure the position into which he had fallen through his terrible accident. He was so busy with his own affairs that he could hardly give me an answer to my inquiries, and for the time being I lost sight of him altogether.
I had come to this arrangement with Roger more by chance than out of necessity, as I continued to adhere firmly to my plan simply to seek a suitable pied-a-terre in Paris. My serious artistic enterprises, on the other hand, were still directed to Germany, from which, from another point of view, I was an enforced exile. Soon, however, the whole aspect of affairs changed: the proposed performance of Tristan in Karlsruhe, on which I had continued to keep an eye, was finally announced as abandoned. I had to remain uncertain as to the precise reason why this undertaking had been given up, which at an earlier stage had apparently been pursued with so much zeal. Devrient pointed out to me that all his attempts to secure an appropriate representation of the rule of Isolde had been shattered by my deciding against the singer Garrigues (who had already married young Schnorr), and that he felt his incapacity to offer advice on the rest of the business all the more keenly because Schnorr, the tenor, whose devotion to me was so great, had himself despaired of being able to execute the last portion of the task assigned to him. I realised at once that this was an obstacle which I should have been able to overcome, together with all its disastrous consequences, if I had been permitted, even for a brief space of time, to visit Karlsruhe. But the mere expression of this wish seemed, as soon as it was reiterated, to arouse the bitterest feelings against me. Devrient expressed his opinion on the matter with so much violence and brutality that I could not help seeing that what kept me from Karlsruhe was mainly his personal disinclination to have me there, or to be interfered with in the conduct of his theatre.
A less potent factor in the situation I found in the painful feeling now aroused in the Grand Duke at the prospect of not being able to fulfil the promise he had once held out to me, that I should visit him in Karlsruhe, where he was in residence; if the main object for the visit were to subside under pressure of other considerations, he could only regard this circumstance in the light of an almost desirable event. At the same time I received from Bulow, who had gone several times to Karlsruhe, fairly broad hints as to what Devrient was aiming at. Full light was shed on the affair at a later stage; for the present it was a matter of the utmost importance for me to face the fact that I was entirely cut off from Germany, and must think of a fresh field for the production of Tristan, which lay so near my heart. I rapidly sketched a plan for starting a German theatre in Paris itself, such as had existed in bygone years with the co-operation of Schroder-Devrient. I thought I could safely rely on the possibility of doing so, as the most eminent singers of the German theatre were known to me, and would gladly follow me if I were to summon them to Paris on such a mission. I received messages of ready acceptance, in the event of my succeeding in founding a German opera season in Paris on a solid basis, from Tichatschek, Mitterwurzer, Niemann the tenor, and also Luise Meyer in Vienna. My immediate and besetting care was then to discover in Paris a suitable man for the task, who would undertake the execution of my plan at his own risk. My object was to secure the Salle Ventadour for a spring season of two months after the close of the Italian opera. There would then be performances of my operas, Tannhauser, Lohengrin, and finally Tristan, by a chosen company and chorus of German singers, for the benefit of the Parisian public in general and myself in particular.
With this purpose in mind, my anxieties and endeavours now took a totally different direction from that towards which they had tended when I first settled again in Paris; to cultivate acquaintances, especially among those who had influence, was now of the utmost importance to me. For this reason I was glad to hear that Gasperini had arrived in Paris for good. Although I had only known him very slightly before, I now immediately communicated my plans to him, and was introduced in the friendliest way to a rich man who was well disposed towards him, a M. Lucy, who, so I was told, was not without influence, and was at that time Receiver-General in Marseilles. Our deliberations convinced us that the most necessary, and indeed indispensable, thing was to find some one to come forward and finance our enterprise. My friend Gasperini could not but agree that, on the strength of the opinions he had himself advanced, it was natural I should look upon M. Lucy as the very man we wanted; but he thought it advisable to put our wishes before his friend with some caution, for though Lucy had much chaleur de coeur, he was principally a man of business and understood but little of music. Above all, it was necessary that my compositions should become well known in Paris, so that further enterprises might be founded on the results thus obtained. With this object in view I decided to arrange a few important concerts. To effect this I had to welcome my old friend Belloni, Liszt's former secretary, into the circle of my closer acquaintances. He immediately enlisted a companion of his in our cause, a highly intelligent man called Giacomelli, whom I never knew to be anything but good-natured. He was the editor of a theatrical journal and was cordially recommended to me by Belloni, as much for his excellent French as for his exceptional capabilities in other respects. My new protector's strange editorial office became from this time one of my most important places of rendezvous, which I frequented almost daily, and where I met all the curious creatures with whom, for the purpose of theatrical and similar matters, one is obliged to mix in Paris. The next thing to be considered was how to obtain the most suitable hall for my intended concerts. It was evident that I should appear to greatest advantage before the Parisian public if I could secure the theatre and orchestra of the Grand Opera.
For this I had to address myself to the Emperor Napoleon, which I did in a concise letter composed for me by Gasperini. The hostility of Fould, who was at that time the Minister of the Household to Napoleon, would probably have to be reckoned with, on account of his friendly relations to Meyerbeer. The injurious and dreaded influence of this personage we hoped to counteract by that of M. Mocquard, Napoleon's secretary, who, as Ollivier declared, composed all the imperial speeches. In an elan of fiery generosity Lucy decided to appeal to the friend of his youth, for as such he regarded Mocquard, in a letter of recommendation to him on my behalf. As even this communication
