In 1852 Richard Wagner issued instructions to opera houses planning to stage Tannhäuser. It had closed after only four performances when it opened in Dresden in 1845 – conducted by the composer without most of the scenery, delayed in transport – but was now attracting wide attention. His essay (14,309 words in English translation) was typically didactic and punctilious, and he demanded complete adherence to every detail. If, for example, the pilgrims were to enter the stage in traditional double file, 'then I merely beg the band to play some march from Norma or Belisario, but not my music'.

Wagner had an entertainingly low opinion of tenors, who were obsessed with 'the paltriest details of vocal trickery'. 'Besides this care and delight, they generally know nothing but the pleasure of fine clothes, and the toil to make their finery and voice together bring in as much applause as possible – above all with an eye to higher wages.'