But the work of the evening was the “Leonora” overture. Here again Wagner had his reading, one which the orchestra fell in with immediately, for they perceived the truth, the earnestness of what Wagner taught.
At the seventh concert, 11th June, the “Tannhäuser” overture was repeated, by royal command. The programme, again “full,” included three overtures and two symphonies.
Overture (“Chevy Chase”) Macfarren. Air (“Jessonda”) Spohr. Symphony (“Jupiter”) Mozart. Scena (“Oberon”) Weber. Overture (“Tannhäuser”) Wagner. Symphony (No. 8) Beethoven. Song (“Ave Maria”) Cherubini. Duet Paer. Overture (“Anacreon”) Cherubini.
The press did Wagner the justice to state that he showed himself earnest in the matter of Macfarren’s “Chevy Chase.” His own overture, “Tannhäuser,” was again a brilliant success. The queen sent for him into the royal salon, and, congratulating him, said that the Prince Consort was “a most ardent admirer of his.” Richard Wagner was pleased at the unaffected and “winning” manner of Her Majesty, who spoke German to him, but as his own account of the interview, written to a friend at Dresden two days after the concert, is now before me, I will reproduce it.
...It was therefore the more pleasing to me that the queen (which very seldom happens, and not every year) had signified her intention of being present at the seventh concert, and ordered a repetition of the overture. It was in itself a very pleasant thing that the queen overlooked my exceedingly compromised political position (which with great malignity was openly alluded to in the “Times”), and without fear attended a public performance which I directed. Her further conduct towards me, moreover, infinitely compensated for all the disagreeable circumstances and coarse enmities which hitherto I had encountered. She and Prince Albert, who sat in front before the orchestra, applauded after “Tannhäuser” overture, which closed the first part, with such hearty warmth that the public broke forth into lively and sustained applause. During the interval the queen sent for me into the drawing-room, receiving me in the presence of her suite with these words: “I am most happy to make your acquaintance. Your composition has charmed me.” She thereupon made inquiries, during a long conversation, in which Prince Albert took part, as to my other compositions; and asked if it were not possible to translate my operas into Italian. I had, of course, to give the negative to this, and state that my stay here could only be temporary, as the only position open was that of director of a concert-institute which was not properly my sphere. At the end of the concert the queen and the prince again applauded me....