Richard Wagner Autograph

Autograph letter signed, 2 1/2 pages (on two conjoined sheets - both sides), 5 x 7,25 inch, Lucerne (Switzerland), 25.02.1869, in French, to "Cher ami"- concerning the Paris Premiere of `Rienzi`* at the Imperial Lyric Theatre under the direction of conductor Jules Pasdeloup: Wagner, who rarely cared for Paris (the march 1861 performance of `Tannhäuser` had been a disastrous failure for the German composer), decided to take no part in Pasdeloup`s project, written and signed in black ink "Rich. Wagner", with light letter folds and mild signs of age wear - in fine condition. 

In Parts:
"Cher ami,
   je me suis décidé, de ne pas aller à Paris, et de laisser son caractère tout à fait personnel à l'entreprise de Mr. Pasdeloup. C'est dans ce sens, et avec des explications tout à fait paisibles que j'ai écrit une lettre ostensible à Mad. Judith Mendès, qui était chargée par Mr. Girardin d'écrire pour « La Liberté » sur moi pour mon arrivée attendue à Paris. Je crois que cette lettre sera publiée très prochainement dans ce journal [...] Mais, après des mûres réflexions, je trouve que je n'ai pas à me mêler à ses essais de transplanter mes œuvres. Mais ce que je veux faire toujours c'est de donner mes avis, si bien que cela se fait par distance.
   Je pense que vous y consentirez. / D'ailleurs, tenez vous toujours à ma dernière lettre; nous ne voulons pas un désastre [...]. Je compte avant tout sur l'assistance, c'est-à-dire: sur le jugement de Mr. Vauthras. S'il croit que l'affaire puisse marcher, laissons la marcher sans entraves. Seulement, pour le cas d'une cochonnerie imminente, je servirai de dernier(e) réserve pour empêcher le malheur.
   J'écris encore à Padeloup, qui m'a invité de venir.
Adieu, cher ! Tenez moi toujours un peu au courant des affaires [...] 

Ps. [postscript]
   J'enjoins encore à cette lettre celle que je viens décrire à Pasdeloup, et que je laisse ouverte pour ce que vous puissiez vous instruire de son contenu. Je tiens beaucoup au rendez vous exigé : tâchez d'en faire une condition de mon consentement."

Translated:
"Dear friend, 
   I have decided not to go to Paris and to leave the enterprise entirely in Mr. Pasdeloup’s personal hands. It is in this spirit, and with entirely peaceful explanations, that I wrote an open letter to Madame Judith Mendès**, who had been tasked by Mr. Girardin to write about me for “La Liberté” on the occasion of my expected arrival in Paris. I believe this letter will be published very soon in that newspaper [...] But, after careful consideration, I think I should not involve myself in these attempts to transplant my works. However, what I always want to do is to give my advice, even if only from a distance.
   I hope you agree with this. / Besides, always refer to my last letter; we do not want a disaster [...]. Above all, I count on the support - that is to say, the judgment - of Mr. Vauthras. If he thinks the venture can proceed, let it go ahead unhindered. Only in the case of an imminent mess will I serve as the last resort to prevent disaster. I am also writing to Pasdeloup, who invited me to come. Farewell, dear friend! Please keep me somewhat informed of affairs.

Postscript:
   I also enclose with this letter the one I have just written to Pasdeloup, which I leave open so that you may acquaint yourself with its contents. I am very keen on the required meeting: try to make it a condition of my consent."

* The first performance of Rienzi, one of Wagner’s early works, took place in Dresden in 1842. Rienzi would not appear on the Paris stage until 57 years after its German premiere, under the baton of Jules Pasdeloup in a French translation by Charles Nuitter and Jules Guillaume (Nuitter had already contributed to the translations of Tannhäuser and Lohengrin), on April 6, 1869.

** Judith Mendès (daughter of Théophile Gautier) was one of the first and most passionate devotees of the Wagnerian cult in Paris. She wrote several articles about Wagner in the press, and in the summer of 1869 made a pilgrimage to Tribschen, with Catulle Mendès (whom she had just married) and the poet Villiers de l’Isle-Adam. A very close friendship developed with the master of the Ring and his wife Cosima, which would be expressed in an abundant correspondence over several years.