Rienzi can be noted that "Rienzi" prefigures themes (brother/sister relationships, social order and revolution) to which Wagner was often to return in his later works. The success of "Rienzi" – his first real success of any kind – was crucial in Wagner's career, launching him as a composer to be reckoned with. It was followed, within months, by his appointment as Kapellmeister at the Dresden Opera (February 1843), which also gave him considerable prestige. It also received critical acclaim elsewhere in Europe. The young Eduard Hanslick, later to be one of Wagner's foremost critical adversaries, wrote in 1846 in Vienna: I
The Consecration of the House (overture) body of the overture, but which instead gives way to a sonata-allegro form. The trumpets and drums resume, leading to an interlude connecting finally with the body of the overture: a fugal "Allegro" (referred to by Schindler) at the work's centre, in both single and double counterpoint. Different groups of instruments enter in turn, producing a fugal texture. The theme appears in the first violins, flute, and oboe, and a counter theme in the second violins and clarinets. This section crescendos rapidly, and – following the recapitulation – a forceful coda brings the overture to a brilliant close. The overture