Les vêpres siciliennes

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Les vêpres siciliennes
Grand opera by Giuseppe Verdi
Vespri Siciliani-by Roberto Focosi.jpg
A scene from the Italian version of the opera
(Lithograph by Roberto Focosi)
Based onOriginal 1838 libretto for Donizetti's Le duc d'Albe
13 June 1855 (1855-06-13);

Les vêpres siciliennes (The Sicilian Vespers) is a grand opera in five acts by the Italian romantic composer Giuseppe Verdi set to a French libretto by Eugène Scribe and Charles Duveyrier from their work Le duc d'Albe , which was written in 1838. Les vêpres followed immediately after Verdi's three great mid-career masterpieces, Rigoletto , Il trovatore and La traviata of 1850 to 1853 and was first performed at the Paris Opéra on 13 June 1855.

Grand opera opera genre

Grand opera is a genre of 19th-century opera generally in four or five acts, characterized by large-scale casts and orchestras, and lavish and spectacular design and stage effects, normally with plots based on or around dramatic historic events. The term is particularly applied to certain productions of the Paris Opéra from the late 1820s to around 1850; 'grand opéra' has sometimes been used to denote the Paris Opéra itself.

Italy republic in Southern Europe

Italy, officially the Italian Republic, is a country in Southern Europe. Located in the middle of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia and the enclaved microstates San Marino and Vatican City. Italy covers an area of 301,340 km2 (116,350 sq mi) and has a largely temperate seasonal and Mediterranean climate. With around 61 million inhabitants, it is the fourth-most populous EU member state and the most populous country in Southern Europe.

Romanticism period of artistic, literary, and intellectual movement that started in 18th century Europe

Romanticism was an artistic, literary, musical and intellectual movement that originated in Europe toward the end of the 18th century, and in most areas was at its peak in the approximate period from 1800 to 1850. Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was partly a reaction to the Industrial Revolution, the aristocratic social and political norms of the Age of Enlightenment, and the scientific rationalization of nature—all components of modernity. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education, the social sciences, and the natural sciences. It had a significant and complex effect on politics, with romantic thinkers influencing liberalism, radicalism, conservatism and nationalism.


Today the opera is performed both in the original French and (rather more frequently) in its post-1861 Italian version as I vespri siciliani . The story is based on a historical event, the Sicilian Vespers of 1282, using material drawn from the medieval Sicilian tract Lu rebellamentu di Sichilia . [1]

<i>I vespri siciliani</i> opera

I vespri siciliani is a five-act Italian opera originally written in French for the Paris Opéra by the Italian romantic composer Giuseppe Verdi and translated into Italian shortly after its premiere in June 1855.

Sicilian Vespers successful rebellion in Sicily on Easter, 1282 against the rule of the French-born king Charles I

The Sicilian Vespers was a successful rebellion on the island of Sicily that broke out at Easter 1282 against the rule of the French-born king Charles I, who had ruled the Kingdom of Sicily since 1266. Within six weeks, approximately 13,000 French men and women were slain by the rebels, and the government of King Charles lost control of the island. It was the beginning of the War of the Sicilian Vespers.

<i>Lu rebellamentu di Sichilia</i>

Lu rebellamentu di Sichilia, fully Cronica di lu rebellamentu di Sichilia contra re Carlu, is a Sicilian historical chronicle of the War of the Vespers written around 1290. The anonymous Rebellamentu, probably written at Messina, was ascribed to Atanasiu di Iaci by Pasquale Castorina in 1883. Though the Rebellamentu sometimes adds valuable details to the history of the Vespers, it is frequently untrustworthy. Its monastic provenance is evident in its moralising tone. The antiquity of its language has placed its authenticity beyond doubt, despite its lack of an early manuscript tradition. This has not prevented speculation that it was written contemporarily with events: one verb in one manuscript is found in the first-person present; this may represent the author inadvertently stepping out of his usual frame of reference, or merely an error in that manuscript.

Composition history

Verdi in 1859 Verdi in 1859.jpg
Verdi in 1859

After Verdi's first grand opera for the Paris Opéra—that being his adaptation of I Lombardi in 1847 given under the title of Jérusalem - the composer had wanted to write a completely new grand opera for the company, the appeal being the same as that which influenced all Italian composers of the day: the challenges of a form different from that of their homeland and the ability to appeal to an audience which welcomed novelty. [2]

<i>Jérusalem</i> Opera by Giuseppe Verdi

Jérusalem is a grand opera in four acts by Giuseppe Verdi. The libretto was to be an adaptation and partial translation of the composer's original 1843 Italian opera, I Lombardi alla prima crociata. It was the one opera which he regarded as the most suitable for being translated into French and, taking Eugène Scribe's advice, Verdi agreed that a French libretto was to be prepared by Alphonse Royer and Gustave Vaëz, who had written the libretto for Donizetti's most successful French opera, La favorite. The opera received its premiere performance at the Salle Le Peletier in Paris on 26 November 1847. The maiden production was designed by Paul Lormier (costumes), Charles Séchan, Jules Diéterle and Édouard Desplechin, and Charles-Antoine Cambon and Joseph Thierry.

Verdi began discussions with the Opéra but negotiations were stalled by the 1848 revolutions and the composer broke them off for a period of time. It was not until February 1852 (while Il trovatore was still being prepared) that he returned to Paris and entered into a contract to write an opera, the libretto to be prepared by Scribe, who was given a deadline for a "treatment" to be delivered on 30 June 1853 [2] with rehearsals to begin in mid-1854 and the opera staged in November/December of that year. Verdi was guaranteed the choice of suitable artists as well as forty performances in the ten months following the premiere. [2]

In July 1852, Verdi had written to Scribe outlining his hopes:

I should like, I need a subject that is grandiose, impassioned and original; a mise-en-scene that is imposing and overwhelming. I have consistently in view so many of those magnificent scene to be found in your poems ... Indeed, these scenes are miracles! But you work them so often that I hope you will work one for me. [3]

When Scribe missed his July 1853 deadline, Verdi went to Paris to negotiate directly and it was then that the librettist proposed a solution, using a revised version of the libretto for Le duc d'Albe , [4] one which had been written about 20 years before at the height of the French grand opera tradition and which had previously been offered to Halévy (who refused it) and to Donizetti (who partly set it to music in 1839 under the original title). [5] Verdi raised many objections, many of these being outlined in a letter from Scribe to Duveyrier of December 1853. [6] They included a change of location, of characters' names, certain specific situations (there being no beer halls in Sicily, for example), plus a demand for a "standard" fifth act to make it equivalent to Meyerbeer's Les Huguenots or Le Prophète .

<i>Le duc dAlbe</i> opera by Gaetano Donizetti

Le duc d'Albe or Il duca d'Alba is an opera in three acts originally composed by Gaetano Donizetti in 1839 to a French language libretto by Eugène Scribe and Charles Duveyrier. Its title, which translates as The Duke of Alba, refers to its protagonist Fernando Álvarez de Toledo, 3rd Duke of Alba. The work was intended for performance at the Paris Opéra. However, William Ashbrook notes that "Rosine Stoltz, the director's mistress, disliked her intended role of Hélène and Donizetti put the work aside when it was half completed".

Fromental Halévy French composer

Jacques-François-Fromental-Élie Halévy, usually known as Fromental Halévy, was a French composer. He is known today largely for his opera La Juive.

<i>Les Huguenots</i> opera by Giacomo Meyerbeer

Les Huguenots is a French opera by Giacomo Meyerbeer, one of the most popular and spectacular examples of the style of grand opera. In five acts, to a libretto by Eugène Scribe and Émile Deschamps, it premiered in Paris in 1836.

However, this "meant that Verdi was writing his first (original) opéra at a point at which the genre was in a state of flux". [5] Musicologist Julian Budden adds: "In opting for the grandest possible scale, Verdi was running against the current of fashion" (which he notes had significantly shifted in the months and years following the 1848 uprising, so that the country was now firmly in the epoch of Napoleon III, meaning "that the social foundation on which [grand opera] rested was now withdrawn"). [7]

Julian Medforth Budden was a British opera scholar, radio producer and broadcaster. He is particularly known for his three volumes on the operas of Giuseppe Verdi, a single-volume biography in 1982 and a single-volume work on Giacomo Puccini and his operas in 2002. He is also the author of numerous entries in the Grove Dictionary of Music and Musicians.

Verdi spent 1854 forcing Scribe to make revisions while writing the music, "complaining about the sheer length demanded by audiences at the Opéra". [4] Overall, it was a frustrating time for the composer, especially in dealing with Scribe's 5th act. The librettist was unresponsive to Verdi's pleas for revisions, until finally, he was forced in late 1854 (with no premiere in sight and the mysterious disappearance from rehearsals of Sophie Cruvelli, who sang Hélène) to write to the Opera's director, Louis Crosnier: "To avoid the catastrophe that menaces us ... I see but one means and I do not hesitate to propose it: dissolution of the contract". [8] However, Verdi persevered and was present at the June 1855 premiere, by then having spent close to two years in Paris working on the opera.

Performance history

19th century

Les Vepres Siciliennes: cover of the score for Verdi's 1855 opera Les Vepres Sicilennes-Verdi-1855 advertisement.jpg
Les Vêpres Siciliennes: cover of the score for Verdi's 1855 opera

The first performance at the Paris Opéra on 13 June 1855 was received to great acclaim. La Presse noted: "Verdi's music has conformed to the procedure invented by French genius without losing anything of its Italian ardour. [9]

Hector Berlioz wrote: "In Les vêpres the penetrating intensity of the melodic expressiveness, the sumptuous, wise variety of the instrumentation, the vastness and poetic sonority of the concerted pieces, the hot colour that shines throughout ... communicate to this opera an imprint of grandeur, a species of sovereign majesty more distinguishable than in this composer's earlier products. [10]

Budden notes that "the critics found much to admire in the new opera. ... Adolphe Adam declared that Les vêpres had converted him to Verdi's music", [11] but Verdi himself, in a letter of late June, notes that three Italian writers were the most critical". [12]

However, its success was not long-lasting. Because the original version never entered the established repertory, performances "limped along" [5] until Verdi attempted to aid its revival at the Paris Opéra on 6 July 1863 by revising some of the roles for selected singers. However, after a few performances, the opera disappeared and was replaced by the French version of Il trovatore , Le trouvère. Except for this one revival in Paris in 1863, "it vanished from the Parisian stage altogether" [13]

20th century and beyond

After a long period of relative neglect, the opera in its original French version has begun to appear onstage more regularly in the 21st century. A production was mounted at the Bastille Opera in 2003 and a 2010 production by the Netherlands Opera. In May 2011 French versions were presented at the Grand Théâtre de Genève and at the Teatro San Carlo in Naples and, in February 2013, the ABAO company in Bilbao presented the opera. [14]

Other presentations have included stagings by Frankfurt Opera [15] in 2013 and Bavarian State Opera in 2018. [16]

The Royal Opera House Covent Garden's staging of the full version for the first time in its history (minus the ballet) in October/November 2013 drew a variety of critical responses. [17] [18] [19]

Verdi's Italian language version

Image of a 78rpm of an aria from Giuseppe Verdi's I vespri siciliani, recorded by Phonodisc Mondial ICBSA Verdi - I vespri siciliani, Sinfonia parte 2.jpg
Image of a 78rpm of an aria from Giuseppe Verdi's I vespri siciliani, recorded by Phonodisc Mondial

An Italian libretto was quickly prepared under Verdi's supervision by the poet Ettore Caimi. The composer was aware that in Italy at that time, it would have been impossible to place the story in Sicily, as he notes to his publisher Giulio Ricordi in April 1855: "I shall ... (change) the subject so as to render it acceptable for Italian theatres". [20] Based on Scribe's suggestions for changing the location - "I suggested that the Duke of Alba should just pack his bags once more and move to Lisbon" [21] - it became Portugal in 1640 while under Spanish control. Therefore, the title was changed to Giovanna de Guzman. Overall, Verdi was not happy with the translation, which Budden regards as "one of the worst ever perpetrated. [22] However, some improvements were made when the opera reverted to its translated Italian title after 1861.

After 1861, in the post-unification era, the opera reverted to its translated Italian title, I vespri siciliani [13] and it is sometimes performed under that title and in that version today.

Marc Bonnehee Marc Bonnehee - photo by Pierre Petit - Gallica 2010 (adjusted).jpg
Marc Bonnehée


Sophie Cruvelli Sophie Cruvelli AEhrlichSangerinnen1895.jpg
Sophie Cruvelli
Voice typePremiere Cast,
13 June 1855 [23]
Narcisse Girard)
Guy de Montfort, Governor of Sicily under Charles d'Anjou, King of Naples baritone Marc Bonnehée
Le Sire de Béthune, a French officer bass Théodore-Jean-Joseph Coulon
Le Comte de Vaudemont, a French officerbassJacques-Alfred Guignot
Henri, a young Sicilian tenor Louis Guéymard
Jean Procida, a Sicilian doctorbass Louis-Henri Obin
La Duchesse Hélène, sister of Duke Frederick of Austria soprano Sophie Cruvelli
Ninette, her maid contralto Clarisse-Françoise Sannier
Daniéli, her servanttenorJean-Jacques Boulo
Thibault, a French soldiertenorM. Aimes
Robert, a French soldierbaritone Mécène Marié de l'Isle
Mainfroid, a Sicilian, adherent of ProcidatenorJoseph Koenig


Place: Palermo, Italy
Time: 1282
Eugene Scribe,librettist of the opera Scribe Eugene 2.jpg
Eugène Scribe,librettist of the opera

Prior to the events of the opera, Procida, a leading Sicilian patriot, was wounded by French troops during their invasion of Sicily, and was forced into exile. Montfort, leader of the French troops, raped a Sicilian woman who later gave birth to a son, Henri. Montfort became governor of Sicily, while the Sicilian woman brought up her son to hate him, without revealing to Henri that Montfort was his father.

Act 1

Palermo's main square

Thibault, Robert and other French soldiers have gathered in front of the Governor's palace. As they offer a toast to their homeland, they are observed by the local Sicilians, unhappy with the occupation.

Hélène, who is being held hostage by the French governor, Montfort, enters dressed in mourning for her brother, Duke Frédéric of Austria, who had been executed by the French exactly a year before and whose death remains unavenged. Somewhat drunk, Robert, a French soldier of low rank, demands that she sing and she agrees. Her song about the prayers of seamen (Viens à nous, Dieu tutélaire – "Pray, O mighty God, calm with thy smile both sky and sea") and God's reply of "let dangers be scorned" ends with a rallying-cry (Courage!… du courage!) to the Sicilians to rebel against the occupiers. When the governor enters, the crowd calms down. Henri, just released from prison, assures Hélène how deeply he despises the governor. Overhearing this, Montfort orders Hélène to leave and then, alone with Henri, offers him a powerful position with his men as long as he stays away from Hélène. He refuses, and immediately follows Hélène into the palace.

Act 2

Beside the sea

Procida lands on the shore from a small fishing boat. It is clear that he is returning from exile and he expresses his joy at returning to his native land and city (Et toi, Palerme – "O thou Palermo, adored land…"). He is surrounded by Mainfroid and other companions and he quickly orders his men to bring Hélène and Henri to him (Dans l'ombre et le silence – "In darkness and in silence"). The three make plans for an uprising during the impending festivities leading to the marriages of a group of young people. After Procida leaves, Hélène asks Henri what reward he seeks. Swearing that he will avenge her brother's death, he asks for nothing but her love.

Béthune arrives with an invitation from Montfort to attend a ball. Henri refuses and is arrested and dragged off. Led by Robert, a group of French soldiers arrive and Procida returns and sees that it is too late to save Henri, since the young people have come into the square and have begun to dance. As the dance becomes more lively, Robert signals to his men, who seize many of the young women, dragging them off in spite of the protests of the young Sicilian men. The dejected young men witness a passing boat filled with French nobles and Sicilian women, all bound for the ball. Procida and others determine to gain entrance to the ball and seek their revenge.

Act 3

Scene 1: Montfort's palace

Montfort reads a paper from the woman whom he abducted, which reveals that Henri is his son (Si, m'abboriva ed a ragion! – "Yes, she despised me, and rightly!"). Béthune tells him that Henri has been brought by force, but Montfort exalts in the fact that his son is close by (Au sein de la puissance – "Given over to riches, surrounded by honors, an immense, horrid void…"). The two men confront one another and Henri is somewhat puzzled by the way he is being treated. Finally, Montfort reveals the letter written by Henri's mother. Taken aback but still defiant, Henri insults his father who reacts in anger as the younger man rushes out: "Fatal word!, Mortal insult! The joy has vanished ...".

Scene 2: A ball at Montfort's palace

When Montfort enters, he gives the signal for the ballet to begin. [24] In the crowd, but disguised, are Hélène, Henri, and Procida. Henri is surprised when the two reveal themselves and they declare that their purpose is to save the young man. However, he is disturbed to hear that they intend to kill Montfort and when the father approaches the son, there is a hint of warning given. As approaching assassins close in, Henri leaps in front of his father just as Hélène approaches. The Sicilians are horrified to see that Henri is being spared as the ensemble contemplates the situation. Hélène, Procida, Daniéli and the Sicilians curse Henri as they are dragged away, while he wants to follow, but is restrained by Montfort.

Act 4

A prison

Henri arrives at the prison gate and, on Montfort's orders, waits to be admitted. He contemplates the situation that his friends are in (O jour de peine – Day of weeping, of fierce sorrow!"). Hélène is brought out and confronts him. Finally, he admits that Montfort is his father and she begins to be willing to sympathise (Henri! Ah, parli a un core… – "Henri! Ah, you speak to a heart already prepared to forgive") Not seeing Henri, Procida approaches Hélène and reveals a letter telling him of awaiting freedom. But Montfort arrives and orders a priest and the execution of the prisoners while Procida is amazed to discover the truth of Henri's situation. Henri begs for mercy for his friends and Montfort confronts him with one thing: Dimmi sol, di’ “Mio padre” – "Say to me only, say “My father” ...". Henri says nothing as the executioner appears and the couple are led away, followed by Henri. Montfort steps in to prevent him from joining them. As Hélène is led towards the executioner, Montfort steps in and announces a pardon for the Sicilians. Furthermore, he agrees to the marriage of Hélène and Henri and announces to the crowd: "I find a son again!". There is general rejoicing.

Painting of the Vespers, probably according to the opera's final act Vepres-siciliennes-31-mar-1282-painting.png
Painting of the Vespers, probably according to the opera's final act

Act 5

The gardens of Montfort's palace

As knights and maidens gather, Hélène gives thanks to all (Merci, jeunes amies – "Thank you, beloved friends"). Henri arrives, exclaiming his joy (La brise souffle au loin – "The breeze hovers about…"). He leaves to find his father, but Procida arrives, announcing a plan to outwit his enemies with their massacre to take place at the foot of the altar after the vows have been said. She is torn, the more so following Henri's return, between her love and her duty (Sorte fatal! Oh, fier cimento! – "Fatal destiny! Oh, fierce conflict!"). Finally, she can go no further and she tells Henri that they cannot be married. Both men are furious with her for her seeming betrayal. Then Montfort arrives, takes the couple's hands, joins them together, and pronounces them married as the bells begin to ring. This is the signal for the Sicilians to rush in and hurl themselves upon Montfort and the French.


In summing the effect of the libretto as "a competent framework for an opera of effects, of spectacle and theatrical surprise, and Verdi ended by accepting it as such", musicologist Julian Budden then notes two of its aspects which appear distinctive and which are visible in the music. Firstly, "he used it as a basis for a new, more ample, more rhythmically complex style of melody. Here the model of Meyerbeer was important ... Secondly, he seized the opportunity of solving a problem which had eluded him in a somewhat similar work, La battaglia di Legnano ; namely that of reconciling the private and public emotions of the main characters. ... .the problem being overcome by means of a more varied musical language." [25]

Musicologist Roger Parker, writing in Grove in 1992, offers a somewhat different point of view in explaining that the sheer length and scale of this opera (as well as others in the grand opera tradition) find themselves being rarely staged by modern opera houses (since 1992 this situation has changed, see performance history section above). Parker states "with very few exceptions, its main lyrical numbers lack the melodic immediacy of the trio of Italian operas (Rigoletto, Il trovatore and La traviata) that immediately preceded it." [26] However, he does go on to say that Les Vêpres "marks a decisive turn away from the language of the middle-period Italian operas and the emergence of many stylistic features we associate with the later Verdi." [4]


Given the frustrations which Verdi encountered in the two-year-long preparation of the opera and the several expressions of these frustrations in letters to Giuseppina Strepponi (with whom he was having a relationship which began about 1847), writer Irving Kolodin in his essay for the RCA recording, hits on a solution which Strepponi herself had provided:

In your position I wouldn't tie myself in any way for the present. I should look for a libretto I liked and set it to music without any engagement and in my own time. [27] (Italics in the original).

Kolodin comments: "It was, of course, the principle by which Verdi's later career was guided when he had the land and the position he craved and the security that went with them and a wise wife." [28]


Opera House and Orchestra
Label [14]
1951Maud Cunitz
Helge Rosvaenge
Heinrich Schlusnus
Otto von Rohr
Kurt Schröder,
Chorus and Orchestra of Hessischer Rundfunk,
Chorus Director: Edmund von Michnay
Deutsche Grammophon
Cat: LPEM 19 244146
1969 Jacqueline Brumaire
Jean Bonhomme
Neilson Taylor
Stafford Dean
Mario Rossi
(Ashley Lawrence for ballet),
BBC Concert Orchestra,
BBC Chorus
Audio CD: Opera Rara
Cat: ORCV303
2003Nelly Miricioiu,
Marcello Giordani,
Anthony Michaels-Moore,
Ferruccio Furlanetto
James Conlon,
Orchestra and Chorus of the Paris Opera,
(Recording...appears to be of the performance on 27 June at the Bastille Opera)
Audio CD: Celestial Audio,
Cat: CA 452
2010Barbara Haveman
Burkhard Fritz
Alejandro Marco-Buhrmester
Balint Szabo
Paolo Carignani,
Netherlands Philharmonic Orchestra and Chorus of the Netherlands Opera
DVD: Opus Arte
Cat: 1060D
2013 Lianna Haroutounian
Bryan Hymel
Michael Volle
Erwin Schrott
Antonio Pappano,
Orchestra and Chorus of the Royal Opera
DVD: Opus Arte

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  1. Backman, p. 6
  2. 1 2 3 Budden, p. 169
  3. Verdi to Scribe, 27 July 1852 in Budden, pp. 171–172
  4. 1 2 3 Parker, pp. 924–925
  5. 1 2 3 Everist, p. 12
  6. Budden, pp. 173–174
  7. Budden, pp. 170–171
  8. Verdi to Crosnier, in Kolodin, p. 7
  9. La Presse, quoted in Kolodin, p. 8
  10. Quoted in Kolodin, p. 8
  11. Budden, p. 187
  12. Verdi to Clara Maffei, in Budden, p. 187.
  13. 1 2 Budden, pp. 238–240
  14. 1 2 Recordings of the opera from operadis-opera-discography.org.uk
  15. Operabase.com performance database
  16. Maier, Maximilian. "Verdi Mit Techno-Ballett". BR Klassik De. br-klassik.de.Missing or empty |url= (help); |access-date= requires |url= (help)
  17. Andrew Clements, "Les vêpres siciliennes - review", The Guardian (London), 18 October 2013
  18. Rupert Christiansen, "Les Vêpres Siciliennes, Royal Opera, Royal Opera House, review", Telegraph (London), 18 October 2013
  19. "Les vêpres siciliennes at ROH", 23 October 2013 on capricciomusic.blogspot.co.uk. Retrieved 11 December 2013
  20. Letter from Verdi to Ricordi, 29 April 1855, quoted in Budden, p. 238
  21. Scribe to unknown, quoted in Budden, p. 238
  22. "I now know what it means to translate and I feel sympathy for all bad translations that are around because it is impossible to make a good one", Verdi to Ricordi, 6 June 1865 in Budden, p.238
  23. List of singers taken from Budden, p.168
  24. Willson 2013, p. 47, notes that Verdi was willing to comply with the traditions of Parisian Grand opera although "the precise position of [the] dance episodes was not stipulated", but the location favoured by the Opera's management and most composers was midway through the grand opera's long-haul journey, the second or third act (or both).
  25. Budden, p. 188
  26. Parker, p. 927
  27. Strepponi to Verdi, 17 January 1853, in Kolodin, p. 8.
  28. Kolodin, p. 8

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