ith plenty of trumpets and drums: to fill the music itself with
energy is a task that Wagner could not cope with as yet.

So far the characters have been consistent. In the second act they all
show signs of weakness. Messengers of peace enter: Rienzi has
conquered and freed the people from an unbearable yoke; he is
congratulated by the messengers who have wandered through the
country--a pilgrimage that in the fourteenth century might well have
occupied them for years--and everywhere peace prevails. The music here
has a certain charm and freshness, but no more can be said for it.
Wagner wanted a contrast to the imposing displays of the first act, so
he simply put in this unnecessary scene. The patricians enter and
whine, begging for mercy; Rienzi, now Tribune, joins the senators; and
Colonna, Orsini and the rest begin to plot his death. Adriano, amongst
them unnoticed at first, expostulates--begs them not to stain their
hands and souls with the blood of the vanquisher who has treated them
so magnanimously. They scorn him as a deserter of his own class; they
leave, and he swears to save "Irenens Bruder." He has become
sentimentalist; but some of the music of the scene has strength. Then
the people conveniently flock in; ambassadors come from all corners of
the earth to acknowledge Rienzi; Adriano warns him that mischief is
breeding, and Rienzi calmly smiles; there is a most elaborate ballet,
occupying many pages of the score and full of trumpery tunes; Orsini
stabs Rienzi, and all the patricians are seized by the guards; Rienzi
shows himself unhurt, being protected by a breastplate; the
conspirators are condemned to die and are led away. Then Adriano and
Irene plead for Colonna; at first Rienzi is obdurate; then he, too,
turns weakling and promises pardon. He pleads for his enemies with the
people; in spite of two citizens who see nothing but danger, he
prevails, and the act ends with another huge chorus. There is much
very Italian stuff in the music; but on the whole this scene is the
strongest in the opera. Of the real Wagner there is still small sign.

He had completed these two acts when he set out for Paris. Once he
realized how poor were the prospects of getting his work played there,
his ardour for bigness and noise seems to have cooled. There are no
more double choruses; everything is planned on a smaller scale. The
three remaining acts in their present form (for he afterwards
shortened the opera) can be, and oft