64.

pp. 117-120

CLET000514

Milan, 28 April 1889

Dearest Maestro ^[r] ,

Our lengthy discussion yesterday evening left me feeling most distressed, and I passed a troubled night because of the many doubts and fears that remain. First among them is that, despite the modifications that were made, the opera ^[r] still absolutely needs to be shortened further, and that when you change things you give way to your exuberant musical nature and end up adding more material rather than removing anything. Another burning doubt I have is that the modifications will not be ready should it be decided to mount more performances of Edgar ^[r] for 2 or 3 evenings in May. The theatre ^[r] opens between the 10^th and the 14^th and closes around the 24^th. If all of the modifications are not delivered as soon as possible, I ask myself how it will be possible to adjust the score, instrumental parts, cued parts for the soloists, choral parts, etc. etc.!!.

We’ll find ourselves answering the Theatre ^[r] when asked about all this that it will not be ready..... there will be trouble, objections..... and it won’t be possible to mount the opera.

   With regard then to the performance material, I cannot give you the copy of the score since it is absolutely necessary that you make your changes on the original, which has to reflect what is performed.

   I understand only too well how you long for some fresh air far from Milan for eight days, but that also means not arriving in time to do what is necessary – and what is necessary means that we receive the modified pieces day by day, indeed hour by hour, in order to immediately prepare the material for the theatre ^[r] . If you leave before doing everything it will mean giving up this production of Edgar ^[r] since, if the Theatre ^[r] were to ask me, I would never, ever assume such a serious and perilous responsibility if not precisely when everything is materially ready. This means that there is some feverishly urgent work to be done; and I know it can be grueling!.... after all your recent exertion and emotional suffering – but by God, I’m talking about Puccini ^[r] no less, a young man in full form capable of confronting these and even more stringent and serious challenges. Certainly you are perfectly free to do as you please; I can only speak to you as a pragmatist who has come to understand men and things over many long years, and who presents the facts to you frankly out of the enormous affection and respect I have for you.

   Take heed, Puccini, that this is one of the most critical and difficult moments of your artistic life – and I say this not with reference to the rubbish of those famous critics of art, but because you are about to open a breach, surmount it with courage and conviction, and plant your flag as the victor. I, who am neither a writer, nor a performer, nor a composer of opera, find myself feverish with anticipation for this Edgar ^[r] , because it so clearly bespeaks all of your brilliance, all of the hopes for the future; but if all of this is to be realized, one must follow the motto: excelsior.

   The endless discussion of nearly 5 hours!!... yesterday evening frightened me. Our good Fontana ^[r] proved himself to be an eloquent orator, but a niggling one!!... a philosopher-lawyer, more than a poet: the subtle detail of his reasoning is admirable but it is neither moving nor persuasive. He maintains the same ideas as before: he thinks quite highly of himself, which is much to his credit, but it also gets in the way of the imagination and the personality of the musician, who is everything..... because he is the one who paints the picture and presents it to the public, and without him the picture is Nothing!

   Be advised, dear Puccini, that I am by no means among those who systematically denigrate the libretto for Edgar ^[r] : the fact that there are two good and effective acts cannot be denied, and that is already a great thing; but there are also many obscure and improbable points, thanks to the theories of Fontana ^[r] , who would have everyone think as he does. And this disturbs me even more, given that I came away from the long discussions of yesterday evening convinced that no gain will ever be had from the experience of these days. Even if one were to prune away all of the exaggerations, all of the ill-intended and vicious criticisms of the libretto, there are still bits of truth in them which must be taken into account!.... and I fear instead the opposite.

   The conclusion of this long letter of mine is this: that before undertaking further revisions to Edgar ^[r] it is necessary that I speak to you, alone: beyond the artistic part of the work, the material part needs to be more clearly established so as not to waste any effort and find ourselves empty-handed just when an opportunity presents itself!!... bringing the entire edifice to ruin.

A decision must absolutely be reached in the next few days to determine whether or not it is possible to mount the opera. Any other line of reasoning is a waste of time.

   I would ask therefore that you come to my home today at noon sharp, because later I will need to leave; and it is urgent that I speak with you again of all that I have written here.

   Cordially, and with highest regards,

Yours most warmly,

Giulio Ricordi