“Rienzi der letzte der Tribunen,” a tragic opera in five acts, words by the composer, the subject taken from Bulwer’s novel, “The Last of the Tribunes,” was first produced at Dresden, Oct. 20, 1842, with Herr Tichatscheck, Mme. Schroeder-Devrient, and Mlle. Wiest in the principal roles.  It was designed and partly completed during Wagner’s stay in Riga as orchestra leader.  In his Autobiography the composer says that he first read the story at Dresden in 1837, and was greatly impressed with its adaptability for opera.  He began it in the fall of the same year at Riga, and says:  “I had composed two numbers of it, when I found, to my annoyance, that I was again fairly on the way to the composition of music a la Adam.  I put the work aside in disgust.”  Later he projected the scheme of a great tragic opera in five acts, and began upon it with fresh enthusiasm in the fall of 1838.  By the spring of 1839 the first two acts were completed.  At that time his engagement at Riga terminated, and he set out for Paris.  He soon found that it would be hopeless for him to bring out the opera in that city, notwithstanding Meyerbeer had promised to assist him.  He offered it to the Grand Opera and to the Renaissance, but neither would accept it.  Nothing daunted, he resumed work upon it, intending it for Dresden.  In October, 1842, it was at last produced in that city, and met with such success that it secured him the position of capellmeister at the Dresden opera-house.

The action of the opera passes at Rome, towards the middle of the fourteenth century.  The first act opens at night, in a street near the Church of St. John Lateran, and discovers Orsini, a Roman patrician, accompanied by a crowd of nobles, attempting to abduct Irene, the sister of Rienzi, a papal notary.  The plot is interrupted by the entrance of Colonna, the patrician leader of another faction, who demands the girl.  A quarrel ensues.  Adriano, the son of Colonna, who is in love with Irene, suddenly appears and rushes to her defence.  Gradually other patricians and plebeians are attracted by the tumult, among the latter, Rienzi.  When he becomes aware of the insult offered his sister, he takes counsel with the Cardinal Raimondo, and they agree to rouse the people in resistance to the outrages of the nobles.  Adriano is placed in an embarrassing position,—­his relationship to the Colonnas urging him to join the nobles, and his love for Irene impelling him with still stronger force to make common cause with the people.  He finally decides to follow Rienzi, just as the trumpets are heard calling the people to arms and Rienzi clad in full armor makes his appearance to lead them.