Allgemeine Wiener Musik-Zeitung, Nos. 16 and 17.
Note: Wagner is no longer a novice; one should read his biography in the Zeitung für die elegante Welt, and one will see from it that Rienzi is not just a first attempt, but a more mature work.
Text often one-sidedly and insufficiently explained. Musical critique: Chief mistake of the composer: originally to have expected the public to hear two operas in one evening. The division into two parts has restored the correct proportion.
"There is no question of lyric passages in the entire opera."—In the following remarks we shall call attention to the lyric passages which escaped the critic after five hearings, despite the fact that they always brought the singer loud applause. There is no fast march in the overture.
No. 1. There is no "uproar in the orchestra" in Rienzi's recitative, but simple quartet accompaniment in short chords.—The end of these numbers, which is absolutely appropriate to their character, is omitted by the critic. After the confused, anarchistic conditions in Rome under the nobles were described in the first part of the introduction, the second part points the way, in quiet, noble dignity, to the hope for, and the enthusiastic confidence in, the elevation which Rienzi is to effect, up to the buono stato. The lyric theme to the words which the critic mentions earlier could have been easily brought out; but, to be sure, it would have directly contradicted his accusation of general confusion.—It seems to me that the whole ideal of the opera is expressed in this number.
No. 2. The critic betrays his meager musical knowledge by citing the theme to the text "A free Roman heart still beats in this breast." Although after five hearings the critic is still not more familiar with the musical peculiarities of this opera, we submit that already after the first performance the public began to improvise by ear on themes from Rienzi which were always correctly taken.
No. 3. Duet. The critic complains of too much confusion and bewilderment, and yet he criticizes the correct time in which the composer interwove lyric passages, such as this duet, which, by the way, are always conditioned by the situation and the economy of the whole, etc.
No. 4. Shouldn't the chorus in the Lateran, "Awaken ye sleepers near and far," have been mentioned? Why does he omit the cantabile of Rienzi, "Let Rome's liberty be the law," which, at first accompanied by the cellos in B flat major, then taken up by the violins in D major to the accompaniment of the chorus, is so effective that the audience often could not refrain from breaking out into loud applause while the music was going on?
Why is the chorus "We swear to you, so great and free" unsatisfying at the end? Merely a way of saying things!! (These are the "troubles of the first act.")
Act II. No. 5. The song of the messenger of peace is not at all instrumented, but a small arioso of the first message of peace is, and the critic could have mentioned this specially.
No. 6. Why far-fetched and unclear? The aim of the composer to give his ideas melodic contours comes out to good advantage just here. This number has, by the way, never failed to make its impression on the audience.
No. 7. Weren't there several things to be mentioned in the finale? Isn't the adagio-sextet with chorus before the finale a song in the true sense of the word? (Text: "O let mercy's heavenly light enter my heart once more! Whoever promises to be loyal to you after you are pardoned, also feels the bitter pangs of remorse." If it is capable of being performed as beautifully as Tichatschek does, isn't it a lyric theme?)
Act III. No. 8. The effect of this act can be gauged only when one hears it as the first act of Part II. The vigorous scene with chorus which opens it always brings loud applause through the enthusiastic final theme, "Romans! To arms!"—The critic does not mention the whole number.
No. 9. Neither does he mention Adriano's aria, even though it is one of the gratifying quiet spots which the critic claims to look for in vain. This aria alone makes the part of Adriano a very grateful one.
—Always the eternal hollow phrases "vagueness of ideas," etc. If every singer is so absorbed in what he has to sing and so eager about it, as is the case with this opera, there can be no question of vagueness. How did it happen that singers were able to make an impression with vague music?—Dear Heine, see what you can do about this "vagueness" clamor! It makes me terribly mad.
No. 10. A critic who has to add to every one of his criticisms "if I'm not mistaken"—should keep quiet until he knows that he makes no more mistakes. In the battle hymn which, incidentally, he praises, he also makes a mistake in citing the theme. One easily senses how important the difference is.
With the division into two parts, some other material which was originally omitted has been included to the advantage of the finale, as the success has shown; the number as such is therefore not "boring and drawn out." Here is the turning point of the drama which was to be significant. Why were passages such as Rienzi's "Maidens, weep," etc., omitted in the criticism? This finale is important for Adriano, and is magnificently performed by Madame Devrient.
Act IV. After the critic has heard the opera five times, has he still missed a musical climax; namely, the music to the procession in which Rienzi goes to Church, with its melodious themes? (Text: "Rely firmly on me, the tribune! Stay loyally at my side," etc.) Rienzi's arioso did not strike him either, even though the audience always greeted it with the warmest applause—that means: to have bad will.
"The Te Deum resounding from the church mingles with the rage of the excited populace"?!! after hearing it five times!!
Act V. The theme of Rienzi's prayer is neither in G nor in A major, but in B flat major.—Fine pitch!!
No. 14. Duet between Rienzi and Irene—again obscure! This can drive one crazy! What the devil is actually clear?—Rienzi's cavatina "Ardently did I love my exalted bride" is again not mentioned at all. Characteristic touches such as the suggestion of the theme of the Roman oath from the first act also escaped him in the last finale. He hears nothing but "noise and confusion."—The composer will, by the way, remain in Saxony for a while, if not as tribune of the people, then as conductor; and his operas will be performed despite the open malice of the critics. Flying Dutchman not to be forgotten—To hell with it! By God, I'm happy to get some honest criticism, but I must fight maliciousness, for I'm still too young and not secure enough for that.
Source: Letters of Richard Wagner: The Burrell Collection, ed. John N. Burk (Macmillan, 1950), No. 45