The insurrection of the people against the nobles is successful, and _Rienzi_, in the second act, awaits at the capitol the patricians who are to pledge him their submission. The act opens with a broad and stately march, to which the messengers of peace enter. They sing a graceful chorus. This is followed by a chorus for the senators, and the nobles then tender their submission. There is a terzetto, between _Adriano_, _Colonna_, and _Orsino_, in which the nobles express their contempt for the young patrician. The finale which then begins is highly spectacular. There is a march for the ambassadors, and a grand ballet, historical in character, and supposed to be symbolical of the triumphs of ancient Rome. In the midst of this occurs the assault upon _Rienzi_. _Rienzi's_ pardon of the nobles is conveyed in a broadly beautiful melody, and this is succeeded by the animated passage heard in the overture. With it are mingled the chants of the monks, the shouts of the people who are opposed to the cardinal and nobles, and the tolling of bells.
The third act opens tumultuously. The people have been aroused by fresh outrages on the part of the nobles. _Rienzi's_ emissaries disperse, after a furious chorus, to rouse the populace to vengeance. After they have left, _Adriano_ has his great air, a number which can never fail of effect when sung with all the expression of which it is capable. The rest of the act is a grand accumulation of martial music or noise, whichever one chooses to call it, and includes the stupendous battle hymn, which is accompanied by the clashing of sword and shields, the ringing of bells, and all the tumult incidental to a riot. After _Adriano_ has pleaded in vain with _Rienzi_ for the nobles, and the various bands of armed citizens have dispersed, there is a duet between _Adriano_ and _Irene_, in which _Adriano_ takes farewell of her. The victorious populace appears and the act closes with their triumphant shouts. The fourth act is brief, and beyond the description given in the synopsis of the plot, requires no further comment.
The fifth act opens with the beautiful prayer of _Rienzi_, already familiar from the overture. There is a tender duet between _Rienzi_ and _Irene_, an impassioned aria for _Rienzi_, a duet for _Irene_ and _Adriano_, and then the finale, which is chiefly choral.