Milano 1 Settembre 1896
A tua del 25 p.p. Ti ringrazio di tutte le interessanti notizie che mi dai.
Sta bene che tu rimanga fino a che lo credi utile, e cioè fino alla metà circa dell’entrante mese, per poi recarti a
Sta bene quanto scrivi per
Per le opere
Mi hai spedito the ed
Milan, 1 September 1896
In response to your letter of the 25th of last month, thanks for all of the interesting news.
It’s fine that you stay as long as you think useful, that is up to around mid-month, and then go on to Paris. I had told you I would have wanted you to come back sooner because I was concerned that your health was not at its best; but since you’ve already gotten this far it’s better to see things through and get as much as you can from your tour abroad. Then too, the weather here is always horrible and it seems like November!!.. which is a genuine disaster for our fall harvest. If anything, there will still be time in October to breathe a bit of fresh air in Comerio, so do what you think best.
I agree with what you write regarding the Paris affiliate. I’ve read Lecoq’s memorandum and it seems to have been formulated by a serious and practical person; who knows if he makes this same impression in person. You can therefore go there to see for yourself and gather new information and reassurances; then there will only be his demands for me to consider, to determine if they are acceptable. Still, there is one delicate issue: Lecoq belongs to Casa Grus, with whom we have always had an optimum rapport, at least with Sig. Léon Grus (even just recently he was extremely courteous with me concerning the Costa pieces). It’s true that we have never had a profitable commercial relationship with Casa Grus, actually perhaps quite the opposite; but we’ve always been on friendly terms with the father. If we were to hire Lecoq, I would not want this to be reason for unpleasantness, so it’s something to be managed with kid gloves.
For the Wagner operas, I told Campanari what you wrote, and he is of my same opinion: that is, that in England the operas are in public domain, but that a Company which is fundamentally Italian runs something of a risk by reprinting these operas as works in public domain. In any case, this is something to be studied and discussed in person.
I turned the manuscript over to Gazzetta, and they will send him the 50 extracts.
Bohéme was wildly successful in Como as well, with a public as discriminating as that of La Scala; and speaking of La Scala, prepare yourself to have some fun with the stage direction for Crepuscolo [Götterdämmerung], because I have no desire to fall ill from indigestion.
Since I wrote to Puccini and to Mascagni, I mentioned what you wrote to me about them.
Okay for Pavone, so he will receive 6 pounds sterling per week.
Have you sent me the tea and raincoat?.... Before you leave London I have another commission for you: I tried those watercolor papers and they are excellent, far superior to the usual blocks of paper – even better, I’ll send you one I used as a trial. The 2 watermarked R and N are both good: I’d like to know what they cost, and if they are available in a larger format than the samples I was sent; that way I can keep a certain supply on hand, since I consume quite a few.
Tornaghi leaves for the country at the end of the week, which usually means rain is on its way!!! but the weather so far this season has been so horrible that I can only hope for the contrary, which is what I wish for him.
With greetings for the best of health to you and Cricrì, I embrace you both with all my heart.
My regards to Pawon esq.!