The fourth act is short, its principal numbers being the introduction, terzetto and chorus ("Wer war’s der euch hierher beschied?"), and the finale, beginning with a somewhat sombre march of the cortege accompanying Rienzi to the church, leading to the details of the conspiracy scene, and closing with the malediction of the monks, “Vae, vae tibi maledicto.”  The last act opens with an impressive prayer by Rienzi ("Allmacht’ger Vater"), which leads to a tender duet ("Verlaesst die Kirche mich”) as Irene enters, closing with a passionate aria by Rienzi ("Ich liebte gluehend").  The duet is then resumed, and leads to a second and intensely passionate duet ("Du hier Irene!”) between Adriano and Irene.  The finale is brief, but full of energy, and is principally choral.  The denouement hurries, and the tragedy is reached amid a tumultuous outburst of voices and instruments.  Unlike Wagner’s other operas, in “Rienzi” set melody dominates, and the orchestra, as in the Italian school, furnishes the accompaniments.  We have the regular overture, aria, duet, trio, and concerted finale; but after “Rienzi” we shall observe a change, at last becoming so radical that the composer himself threw aside his first opera as unworthy of performance.

THE FLYING DUTCHMAN.

“Der Fliegende Hollaender,” a romantic opera in three acts, words by the composer, the subject taken from Heinrich Heine’s version of the legend, was first produced at Dresden, Jan. 2, 1843, with Mme. Schroeder-Devrient and Herr Wechter in the two principal roles.  It was also produced in London in 1870 at Drury Lane as “L’Ollandose dannato,” by Signor Arditi, with Mlle. Di Murska, Signors Foli, Perotti, and Rinaldini, and Mr. Santley in the leading parts; in 1876, by Carl Rosa as “The Flying Dutchman,” an English version; and again in 1877 as “Il Vascello fantasma.”  In this country the opera was introduced in its English form by Miss Clara Louise Kellogg.

Wagner conceived the idea of writing “The Flying Dutchman” during the storm which overtook him on his voyage from Riga to Paris.  He says in his Autobiography:  “‘The Flying Dutchman,’ whose intimate acquaintance I had made at sea, continually enchained my fancy.  I had become acquainted, too, with Heinrich Heine’s peculiar treatment of the legend in one portion of his ‘Salon.’  Especially the treatment of the delivery of this Ahasuerus of the ocean (taken by Heine from a Dutch drama of the same title) gave me everything ready to use the legend as the libretto of an opera.  I came to an understanding about it with Heine himself, drew up the scheme, and gave it to M. Leon Pillet [manager of the Grand Opera], with the proposition that he should have a French libretto made from it for me.”  Subsequently M. Pillet purchased the libretto direct from Wagner, who consented to the transaction, as he saw no opportunity of producing the opera in Paris.  It was then set by Dietsch as “Le Vaisseau fantome,” and brought out in Paris in 1842.  In the mean time, not discouraged by his bad fortune, Wagner set to work, wrote the German verse, and completed the opera in seven weeks for Dresden, where it was finally performed, as already stated.  Unlike “Rienzi,” it met with failure both in Dresden and Berlin; but its merits were recognized by Spohr, who encouraged him to persevere in the course he had marked out.