“A symbolic interpretation has been affixed to it, a sort of philological commentary, which sets fetters upon the inner and free understanding of the imagination it is tyrannical. Music is the language of the commentator, who talks the whole of the time and gives us no breathing space. Moreover his is a difficult language which also requires to be explained. He who step by step has mastered, first the libretto (language!), then converted it into action in his mind’s eye, then sought out and understood, and became familiar with the musical symbolism thereto: aye, and has fallen in love with all three things: such a man then experiences a great joy. But how exacting! It is quite impossible to do this save for a few short moments, such tenfold attention on the part of one’s eyes, ears, understanding, and feeling, such acute activity in apprehending without any productive reaction, is far too exhausting! Only the very fewest behave in this way: how is it then that so many are affected? Because most people are only intermittingly attentive, and are inattentive for sometimes whole passages at a stretch; because they bestow their undivided attention now upon the music, later upon the drama, and anon upon the scenery that is to say they take the work to pieces.

(Tanıtım Bülteninden)