Richard WAGNER (1813-1883). Musical manuscript with signed autograph dispatch, Tannhäuser und der Sängerkrieg auf der Wartburg, 1845; one oblong in-4 volume (23.5 x 32.5 cm) of 68 leaves written on both sides, blue paper boards with Tannhäuser title on upper cover (boards worn, spine damaged); black chagrin-backed preservation box (Devauchelle workshop). Precious manuscript of the vocal score for the role of Tannhäuser, on which tenor Tichatscheck worked for the opera's premiere under Wagner's direction. Tannhäuser premiered in Dresden on October 19, 1845, with tenor Josef TICHATSCHECK (1807-1886) in the title role, who had already premiered Rienzi in 1842. [Wagner, deeply impressed by the tenor's vocal qualities, recalled the difficulties that marked the premiere of Tannhäuser in Ma vie: "Unfortunately, it was impossible to influence Tichatscheck [...] by advising him on things he didn't understand at all, we would have risked upsetting and intimidating him. He knew that he had a beautiful metallic voice, that he sang well and rhythmically, and pronounced very clearly. I only realized the inadequacy of these advantages at the performance [...] The main flaw of the character consisted in the fact that the tenor was incapable of rendering the true expression of the great adagio of the finale [of Act II, from "Zum Heil den Sündigen"...] At the performance, the monotonous way in which Tichatscheck sang it made it seem unbearably long. Not wanting to hurt this actor who was so devoted to me and who, in his genre, had been so useful to me, I pretended to have noticed that this part was missing; only, Tichatscheck being considered my favorite performer, this musical phrase, so eminently important, was later suppressed every time Tannhäuser was performed [...].My tenor, who was always extremely energetic in both joy and sorrow, withdrew at the end of the second act with the humble countenance of a poor sinner, and reappeared in the third act in an attitude of resignation that must have aroused affectionate pity. He only regained his vigor as a singer when he made known the papal excommunication issued against him, and his voice then became so broad and powerful that it was a real pleasure to hear it dominate the accompaniment of the trombones". Wagner also blamed his inexperience for some of the play's failure: "In the first version of the play, as it was then performed, I had intended Venus's attempts to win back the unfaithful lover to herself to be a vision of Tannhäuser in dementia"... "When the curtain finally came down, I was able to see Venus's attempts to win back the unfaithful lover as a vision of Tannhäuser in dementia. When the curtain finally came down, I was aware of my failure, not so much because of the audience's always benevolent and cordial attitude, as because of my conviction that I had presented a work in which the lack of experience was too obvious. [...] That very night, I took the necessary decisions to remedy the performance's shortcomings. I could see where the weakness lay, but I didn't dare say it, because I recoiled from the slightest attempt to enlighten Tichatscheck about the character of his role. I risked confusing or upsetting him, and causing him to refuse to sing Tannhäuser under any pretext whatsoever. I therefore resorted to the only means that could ensure a favorable rehearsal of my opera: I took the weakness of the role into my own hands, and made cuts in it that reduced, it's true, its dramatic significance, but prevented the other parts from being spoiled by misinterpretation". As Tichatscheck was hoarse, it was necessary to wait eight days for the second performance. "Finally, this second performance took place, and I hoped to have made enough changes to my play to please the audience: a significant reduction in the main roles, the abandonment of my pretensions to idealism in certain parts of the performance, and the highlighting of pleasant passages [...]. [...] It was unpleasant for me, because of Tichatscheck, that after each act I was the only one on stage. And I was forced to respond and greet the audience, because refusing to do so would have caused further humiliation for my singer: when he appeared alone with his colleague, he was greeted by the call of my name in a way that was almost offensive to him. How I wished it could be otherwise, and that the excellence of the execution would make us forget the author! Having never been able to achieve such perfection in Dresden, I drew a characteristic conclusion that guided me in all my endeavors. Be that as it may, through my representation