ch
of noble patriotism he convinces them of their mistakes, and wins them
once more to allegiance. Suddenly the doors of the Lateran Church are
thrown open; the Papal Legate appears, and reads aloud the Bull of
Rienzi's excommunication. Horror-stricken at the awful sentence, the
Tribune's friends forsake him and fly, all save Irene, who, deaf to the
wild entreaties of Adriano, clings to her brother in passionate
devotion.

In the fifth act, Rienzi, after a last vain attempt to arouse the
patriotism of the people, seeks refuge in the Capitol, which is fired by
the enraged mob. The Tribune and Irene perish in the flames, together
with Adriano, whose love for Irene proves stronger than death.

Wagner himself has described the frame of mind in which he began to work
at 'Rienzi': "To do something grand, to write an opera for whose
production only the most exceptional means should suffice...this is
what resolved me to resume, and carry out with all my might, my former
plan of 'Rienzi.' In the preparation of this text I took no thought for
anything but the writing of an effective operatic libretto." In the
light of this confession, it is best to look upon 'Rienzi' merely as a
brilliant exercise in the Grand Opera manner. Much of the music is showy
and effective; there is a masculine vigour about the melodies, and the
concerted pieces are skilfully treated, but, except to the student of
Wagner's development, its intrinsic value is very small.

Appropriately enough, the idea of writing an opera upon the legend of
the Flying Dutchman first occurred to Wagner during his passage from
Riga to London in the year 1839. The voyage was long and stormy, and the
tempestuous weather which he encountered, together with the fantastic
tales which he heard from the lips of the sailors, made so deep an
impression upon his mind, that he determined to make his experiences the
groundwork of an opera dealing with the fortunes of the 'Wandering Jew
of the Ocean.' When he was in Paris, the stress of poverty compelled him
to treat the sketch, which he had made for a libretto, as a marketable
asset. This he sold to a now forgotten composer named Dietsch, who wrote
an opera upon the subject, which failed completely. The disappearance of
this work left Wagner's hands free once more, and some years later he
returned _con amore_ to his original idea. 'Der Fliegende Hollaender' was
produced at Dresden in 1843.

The legend of the Flying Dutchman is, of c