The second act opens in the dwelling of Poppoea, Nero’s mistress, whose attendants are trying to console her.  She has heard of Nero’s new infatuation; but her apprehensions are relieved when Balbillus, the astrologer, enters and not only announces that Chrysa is dead, but tells the equally grateful news that Octavia, Nero’s wife, has been condemned to die.  Nero himself now appears upon the scene, and a duet follows in which Poppoea reproaches him for his fickleness and he seeks to console her with flattery.  At its close the death of Octavia is announced, and Poppoea is appeased by the prospect of sharing the throne.  Meanwhile Chrysa has fallen into the custody of Agrippina, Nero’s mother, who keeps close charge of her to further her own ambitions.  During the interview between the tyrant and his mistress, Epicharis rushes in and implores Nero to give up Chrysa, which leads to a powerful ensemble.  Learning that Chrysa is still alive he leaves the apartment to find her.  The second scene is brilliantly spectacular.  Nero and his mother appear in front of the temple, followed by a long procession to the music of a brilliant march.  They enter the temple.  After a short episode, in which Poppoea informs Epicharis of the refuge Chrysa has found, the ballet is given in the open square, with its fascinating dances of warriors, bacchantes, jugglers and buffoons, and their mimic combats, the music of which is very familiar from its frequent performance in our concert-rooms.  Nero then appears and announces his divinity in a finale, which is rich with scenic, spectacular, and choral effects, accompanied by full military band and orchestra.

The third act opens in Chrysa’s new asylum of refuge.  The persecuted girl sings a beautiful prayer, at the close of which Vindex joins her in a love-duet, which will always remain as one of the most refined and noble products of Rubinstein’s skill in harmony.  The next number is one of almost equal beauty,—­a duet for Chrysa and Epicharis, the motive of which is a cradle song.  Its soothing tones are interrupted by the appearance of Nero, followed by Poppoea and Saccus, the last-named announcing to the tyrant that Rome is in flames, which leads up to a vigorous trio.  The concluding scene is full of characteristic music.  It shows us Nero watching the fire from his tower, while he sings a hymn ("O Ilion”) to the accompaniment of his lyre; the death of Chrysa, who proclaims herself a Christian and is killed by the infuriated populace; and the fate of Epicharis, who is crushed beneath a falling house as she mourns for her daughter.

The fourth act furnishes a dramatic denouement to the mournful story.  The tyrant, wild with rage and frenzy, appears in the tomb of Augustus, where the shades of his murdered victims terrify him.  Saccus enters and tells him of the revolt of his army and the danger which threatens him.  He rushes out again and kills himself on the highway of the Campagna, just as Vindex at the head of his legions comes up with him.  As he expires a cross appears in the sky and a chant is heard, herald of the coming Christianity.