So far the characters have been consistent. In the second act they all show signs of weakness. Messengers of peace enter: Rienzi has conquered and freed the people from an unbearable yoke; he is congratulated by the messengers who have wandered through the country--a pilgrimage that in the fourteenth century might well have occupied them for years--and everywhere peace prevails. The music here has a certain charm and freshness, but no more can be said for it. Wagner wanted a contrast to the imposing displays of the first act, so he simply put in this unnecessary scene. The patricians enter and whine, begging for mercy; Rienzi, now Tribune, joins the senators; and Colonna, Orsini and the rest begin to plot his death. Adriano, amongst them unnoticed at first, expostulates--begs them not to stain their hands and souls with the blood of the vanquisher who has treated them so magnanimously. They scorn him as a deserter of his own class; they leave, and he swears to save "Irenens Bruder." He has become sentimentalist; but some of the music of the scene has strength. Then the people conveniently flock in; ambassadors come from all corners of the earth to acknowledge Rienzi; Adriano warns him that mischief is breeding, and Rienzi calmly smiles; there is a most elaborate ballet, occupying many pages of the score and full of trumpery tunes; Orsini stabs Rienzi, and all the patricians are seized by the guards; Rienzi shows himself unhurt, being protected by a breastplate; the conspirators are condemned to die and are led away. Then Adriano and Irene plead for Colonna; at first Rienzi is obdurate; then he, too, turns weakling and promises pardon. He pleads for his enemies with the people; in spite of two citizens who see nothing but danger, he prevails, and the act ends with another huge chorus. There is much very Italian stuff in the music; but on the whole this scene is the strongest in the opera. Of the real Wagner there is still small sign.