The second act opens in the hostelry of John of Leyden, and is introduced with a waltz and drinking-chorus, in the midst of which the Anabaptists arrive and are struck with his resemblance to a portrait of David in the Munster Cathedral.  From a very descriptive and highly wrought scena ("Sotto le vasti arcati”) sung by him they also learn that he is given to visions and religious meditations.  They assure him that he shall be a ruler; but in a beautiful romanza ("Un impero piu soave”) he replies that his love for Bertha is his only sovereignty.  Just as they depart, Bertha, who has escaped, rushes in and claims his protection.  He conceals her; but has hardly done so when the Count enters with his soldiers, bringing Fides as a prisoner, and threatens to kill her unless Bertha is given up.  He hesitates; but at last, to save his mother’s life, delivers Bertha to her pursuers.  Mother and son are left alone, and she seeks to console him.  In this scene occurs one of the most dramatic and intense of Meyerbeer’s arias ("O figlio mio, che diro"), known more popularly by its French words, beginning, “Ah! mon fils.”  It has enjoyed a world-wide popularity, and still holds its place in all its original freshness and vigor.  Fides hardly disappears before the ominous chant of the Anabaptists is heard again.  He does not need much persuasion now.  They make their compact in a quartet of magnificent power, which closes the act; and some of John’s garments are left behind stained with blood, that his mother may believe he has been killed.

The third act opens in the Anabaptists’ camp in a Westphalian forest, a frozen lake near them, and Munster, which they are besieging, in the distance.  In the second scene Zacarie sings a stirring pasan of victory ("In coppia son"), followed by the beautiful ballet music of the skaters as they come bringing provisions to the troops.  Count Oberthal meanwhile has been taken prisoner and brought into camp.  A buffo trio between himself and his captors follows, in which Gione penetrates his disguise and recognizes him.  They are about to fall upon him; but John, learning from him that Bertha is still alive and in Munster, saves his life.  He immediately resolves to take the place by assault, rouses his followers with religious chants of a martial character, and the act concludes with the march on the city.

The fourth act opens in the city itself after its capture.  A mendicant appears in the public square begging for bread.  It is Fides; and in a plaintively declamatory aria of striking power ("Pieta! pieta!”) she implores alms.  She meets with Bertha disguised as a pilgrim, and bent upon the destruction of the Prophet, who, she believes, has been the cause of John’s death.  The next scene opens in the cathedral, where the coronation of the Prophet is to take place; and among all Meyerbeer’s pageants none are more imposing than this, with its accompaniment of pealing bells, religious chants, the strains of