It seems recently as if one were now disposed to make good our earlier injustice to Berlioz. I speak of conductors and the public, of course, not of the critics. They are incorrigible. The rapid succession of performances of the Requiem and the Te Deum, the repetitions of the Symphonic Fantastique, Romeo and Juliet and the Overture to Benvenuto Cellini, and now finally The Damnation of Faust provide the foundation for a future prosperity, for a noble popularity of Berlioz's works in our city, which accorded them the warmest sympathy in the great composer's own lifetime. Now, too, the success was complete. The applause, which could refer only to the work, was enthusiastic. It would be a splendid victory for it if this performance could be repeated in this season. It could not be other than successful.
March 28, 1886
For a whole month now no work by Richard Wagner has been given in our opera house. Instead, Der Trompeter von Säkkingen has been striding across our stage, proudly and grandly, three times a week. Who knows how long this situation might have endured had not the sudden visit of Fräulein Schöller, 1 of the Bavarian Court Opera, brought a temporary interruption of this musical sans-culottism.
Fräulein Schöller has just about everything required to be a good Elsa: a