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''I masnadieri'' (''The Bandits'' or ''The Robbers'') is an opera in four acts by Giuseppe Verdi to an Italian libretto by Andrea Maffei, based on ''Die Räuber'' by Friedrich von Schiller. As Verdi became more successful in Italy, he began to receive offers from other opera houses outside the country. The London impresario Benjamin Lumley had presented ''Ernani'' in 1845 and, as a result of its success, commissioned an opera from the composer which became ''I masnadieri''. It was given its first performance at Her Majesty's Theatre on 22 July 1847 with Verdi conducting the first two performances. While reasonably successful there and in Italy up to the mid-1860s, the opera disappeared for about 90 years until revived in 1951. It has been revived from time to time in the 21st century. ==Composition history== In 1842 Lumley took over the management of Her Majesty's Theatre, the traditional home of Italian opera in London. Three years later Verdi's ''Ernani'' received its first British production at his theatre to great public acclaim, which convinced Lumley that he should commission an opera from Verdi, who was by then emerging as Italy's leading composer. Initially, the opera was to be ''Il corsaro'' based on the Byron poem of 1814, ''The Corsair''. Verdi accepted Lumley's proposal and production was scheduled for the world premiere of the new opera in the summer of 1846. Unfortunately, Verdi's health deteriorated and the premiere of the new work had to be postponed until 1847. During his period of recovery, one of Verdi's close friends, Andrea Maffei, a distinguished poet who had translated both Shakespeare and Schiller into Italian, suggested that ''Macbeth'' and Schiller's ''Die Rãuber'' might provide suitable operatic subjects. With an offer to present a new opera in Florence, Verdi had the choice of two locations, Florence or London. In the end, the decision to present ''Macbeth'' in Florence came about because of the availability of a suitable bass, which Florence produced in the form of Felice Varesi. Thus, ''I masnadieri'' became destined for London, but with the condition that both Jenny Lind and the tenor Fraschini would be available. Maffei himself worked to complete the libretto of the Schiller opera with the composer.〔Budden, p. 315〕 However, while Verdi had specified Fraschini, Budden notes that the management were not able to guarantee his presence and, besides, Muzio's "ear to the ground for news of the London opera season" had discovered that the preferred tenor there was Italo Gardoni who did sing the premiere.〔 Verdi left Italy at the end of May 1847, accompanied by his long-time assistant and student Emanuele Muzio, with his work for London completed, except for the orchestration, which he left until the opera was in rehearsal. Apart from this being somewhat standard practice, another reason is noted by Gabiele Baldini in ''The Story of Giuseppe Verdi'': the composer wanted to hear "la Lind and modify her role to suit her more exactly."〔 However, there had already been rumblings that Lind may not be present; in a letter to Lumley in April, the composer had warned the impresario that he "would not put up with the slightest shortcoming" and that he would withdraw the opera "if my opera is not put on at the proper time and with everything done as it ought to be done"〔Verdi to Lumley, 10 April 1847, in Budden, p. 316〕 An additional issue emerged. The travelers having reached Paris, Verdi heard rumours that Lind was not willing to learn new roles and, therefore, Muzio was sent across the English Channel ahead of the composer, who waited for an assurance that the soprano was in London and willing to proceed. From London, Muzio was able to give Verdi that assurance, informing him that Lind was ready and eager to go to work. Verdi continued his journey, crossing the Channel on 5 June.〔Baldini, p. 132〕〔Budden, pp. 316–317: Budden expands on the reasons behind Lind's hesitations about coming to London, one of which was due to a threat from Bunn, the manager of the Drury Lane Theatre, to have her arrested upon arrival in England for not fulfilling a contract he had negotiated with her. Eventually, all was worked out.〕 Lumley had assembled a cast of the highest international standard, specifically the Swedish coloratura soprano Jenny Lind, who came to create the role of Amalia, the opera's heroine. Thus, this opera became the highlight of her first season in England. After considerable persuasion Verdi agreed to conduct the premiere on 22 July 1847 and also conducted the second performance and after Verdi's departure, it was given two more times before the end of the season.〔Budden, pp. 318–319〕 Queen Victoria and Prince Albert attended the first performance, together with the Duke of Wellington and every member of the British aristocracy and fashionable society who was able to gain admission. Overall, the premiere was a triumphant success for the composer himself, and the press was for the most part generous in its praise, although the critic Henry Chorley was to describe it as "the worst opera that has been given in our time at Her Majesty's Theatre. Verdi is finally rejected".〔Chorley quoted in Budden, p. 319 (but taken from Toye, p. 56)〕 The libretto As Gabriele Baldini in ''The Story of Giuseppe Verdi'' examines this opera, the quality of the libretto preoccupies him over several pages, as much for the unsuitability of Maffei as a librettist as his lack of skill in crafting Schiller's story into an acceptable libretto.〔Baldini, pp. 129–134〕 He stresses the fact that Maffei's strengths lay in the field of translation, mostly from the German and English literature, and Baldini sums him up as "neither a poet nor a good man of letters ... who found himself at the centre of cultural currents to which he was contributing nothing really vital".〔Baldini, p. 126–127〕 Implicit, therefore, is the notion - as noted in the quotation from Basevi below〔 under "Music" - of whether composer and librettist were really suited to each other. Musicologist Julian Budden, who describes Maffei's libretto as "indigestible",〔Budden, p. 337〕 agrees with this assessment when he states that, along with Salvadore Cammarano, the librettist employed by the composer for the first time in 1845 to write ''Alzira'', there was "an exaggerated regard on Verdi's part for the librettist" and he continues: "such complaisance (the composer ) was a bad sign."〔Budden, pp. 319–320〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「I masnadieri」の詳細全文を読む スポンサード リンク
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