ard the conspiracy. The whole plot fails and the nobles who have
taken part in it are unanimously condemned to death. But Adriano full
of remorse on account of his treason against his own father, implores
Rienzi to save their lives, and as Irene joins her prayers to those of
her lover, the culprits are pardoned and obliged to renew their oath of
fidelity. {292} From this time on Rienzi's star begins to pale. The
nobles do not adhere to their oath; in the third act they again give
battle, and though Rienzi is again victorious, it is only at the cost
of severe sacrifices. The nobles are slain, and now Adriano, who had
in vain begged for peace, turns against Rienzi.

In the fourth act Adriano denounces him as a traitor; the people easily
misled, begin to mistrust him, and when even the church, which has
assisted him up to this time anathematises him on account of his last
bloody deed, all desert him. Irene alone clings to her brother and
repulses her lover scornfully, when he tries to take her from Rienzi's
side. Both brother and sister retire into the Capitol, where Adriano
once more vainly implores Irene to fly with him. For the last time
Rienzi attempts to reassert his power, but his words are drowned in the
general uproar. They are greeted by a hail of stones, the Capitol is
set on fire, and they perish like heroes in the flames, through which
Adriano makes his way at the last moment and thus finds a common grave
with his bride and her brother, the last of the Tribunes.

RIGOLETTO.

Opera in three acts by VERDI.

Text by PIAVE from VICTOR HUGO'S drama: "Le roi s'amuse".

No opera has become popular in so short a time as Rigoletto in Italy.
The music is very {293} winning and is, like all that Verdi has
written, full of exquisite melodies.

In Germany it has not met with the same favor, which is due in great
part to its awful libretto, which is a faithful copy of Hugo's drama,
and developed in a truly dramatic manner. The subject is however
rather disgusting. Excepting Gilda, we do not meet with one noble
character.

The Duke of Mantua, a wild and debauched youth, covets every girl or
woman he sees, and is assisted in his vile purposes by his jester,
Rigoletto an ugly, hump-backed man. We meet him first helping the Duke
to seduce the wife of Count Ceprano, and afterwards the wife of Count
Monterone. Both husbands curse the vile Rigoletto and swear to be
avenged. Monterone especially, appear