Ernani - Revision history

EIGHTCLOUDS: added Category:Libretti by Francesco Maria Piave using HotCat

2024-05-13T14:25:00Z

added Category:Libretti by Francesco Maria Piave using HotCat

← Previous revision		Revision as of 14:25, 13 May 2024
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	[[Category:Operas set in Spain]]		[[Category:Operas set in Spain]]
	[[Category:Operas]]		[[Category:Operas]]
			[[Category:Libretti by Francesco Maria Piave]]

Zaslav: /* Setting the play as the opera, Ernani */ Clarify Budden's opinion as opinion.

2024-03-02T18:33:40Z

Setting the play as the opera, Ernani: Clarify Budden's opinion as opinion.

← Previous revision		Revision as of 18:33, 2 March 2024
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	[[File:Hernani.gif\|thumb\|Act 1, sc. 1 of ''Hernani'': the king steps from the cupboard to confront Hernani and Doña Sol (Elvira)]]		[[File:Hernani.gif\|thumb\|Act 1, sc. 1 of ''Hernani'': the king steps from the cupboard to confront Hernani and Doña Sol (Elvira)]]

	However, Piave was not at all pleased by this turn of events and felt that an opera based on ''Hernani'' could not be staged ~~for reasons~~ of censorship. For instance, the King's first appearance in the play is from a cupboard where he has been hiding since some time after his arrival and before he meets Elvira. Thus he overhears much of the interaction between Elvira and Ernani before finally revealing himself. Verdi must have realized that no king "would ever be allowed to hide in a cupboard", ~~something~~ ~~which~~ Budden ~~notes~~.<ref name="BUDD2"/>		However, Piave was not at all pleased by this turn of events and felt that an opera based on ''Hernani'' could not be staged because of censorship. For instance, the King's first appearance in the play is from a cupboard where he has been hiding since some time after his arrival and before he meets Elvira. Thus he overhears much of the interaction between Elvira and Ernani before finally revealing himself. Verdi must have realized that no king "would ever be allowed to hide in a cupboard", according to Budden.<ref name="BUDD2"/>

	But the La Fenice directorate did approve the concept and the librettist was offered compensation, although he saved his ''Allan Cameron'' in reserve in case of mishap. As it evolved, the opera – originally titled ''Don Ruy Gomez de Silva'' in synopsis form – came more and more "to reflect the unique character of the parent drama"<ref name="BUDD2"/> as Verdi wished to stick as closely as possible to the original play. For Budden, this "marks a new outlook in Italian opera", because this would never have occurred to either [[Gioachino Rossini\|Rossini]] or [[Donizetti]], for whom plots were interchangeable.<ref name="BUDD2">Budden (1984), p. 143</ref>		But the La Fenice directorate did approve the concept and the librettist was offered compensation, although he saved his ''Allan Cameron'' in reserve in case of mishap. As it evolved, the opera – originally titled ''Don Ruy Gomez de Silva'' in synopsis form – came more and more "to reflect the unique character of the parent drama"<ref name="BUDD2"/> as Verdi wished to stick as closely as possible to the original play. For Budden, this "marks a new outlook in Italian opera", because this would never have occurred to either [[Gioachino Rossini\|Rossini]] or [[Donizetti]], for whom plots were interchangeable.<ref name="BUDD2">Budden (1984), p. 143</ref>

Zaslav: /* Composition history */ Ce

2024-03-02T18:12:31Z

Composition history: Ce

← Previous revision		Revision as of 18:12, 2 March 2024
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	<blockquote>He explains [to Mocenigo at La Fenice]—and this was rare at the time—that he began to compose only when the libretto was completed to his satisfaction because "when I have a general conception of the whole poem, the music comes of its own accord"<ref name="KIMB">Kimbell, in Holden 2001, pp. 980–981</ref></blockquote>		<blockquote>He explains [to Mocenigo at La Fenice]—and this was rare at the time—that he began to compose only when the libretto was completed to his satisfaction because "when I have a general conception of the whole poem, the music comes of its own accord"<ref name="KIMB">Kimbell, in Holden 2001, pp. 980–981</ref></blockquote>

	Once this agreement was settled upon, the next step was to choose a subject, something which took some time. Several subjects came to Verdi's attention: for example, Byron's ''[[The Corsair]]'' was considered, but the right baritone was not available. In thinking about an opera about the Venetian [[Francesco Foscari\|Foscari]] family, he found that it was forbidden by the censor in order to avoid upsetting any of the descendants of that family who were then living in Venice. ~~However, both~~ of these subjects were to become later Verdi operas, ''[[Il corsaro]]'' and ''[[I due Foscari]]'', the latter opening in Rome later in 1844.		Once this agreement was settled upon, the next step was to choose a subject, something which took some time. Several subjects came to Verdi's attention: for example, Byron's ''[[The Corsair]]'' was considered, but the right baritone was not available. In thinking about an opera about the Venetian [[Francesco Foscari\|Foscari]] family, he found that it was forbidden by the censor in order to avoid upsetting any of the descendants of that family who were then living in Venice. (Both of these subjects were to become later Verdi operas, ''[[Il corsaro]]'' and ''[[I due Foscari]]'', the latter opening in Rome later in 1844.)

	An unsolicited manuscript from the unknown Francesco Piave (who was La Fenice's resident poet and stage manager in addition to being a friend of Brenna, the company's Secretary) proposed an opera, ''Cromwell,'' based on [[Victor Hugo]]'s [[Cromwell (play)\|play]], and on which he had started work. Mocenigo assured the composer of Piave's sense of the theatre and of musical forms, and so they agreed to proceed, although by the time of its approval by the Fenice authorities, it had become ''Allan Cameron'', a story set in the time just prior to the accession of Britain's [[Charles II of England\|Charles II]]. Immediately, Verdi took control and made it clear to Piave what he wanted in the way of a theatrical experience:<ref name="BUDD"/> "...Let's have as few words as possible ... Remember that brevity is never a fault ... But I do insist on brevity because that's what the public wants..."<ref>Verdi to Piave, 8 August 1843, in Budden (1984), p. 141</ref>		An unsolicited manuscript from the unknown Francesco Piave (who was La Fenice's resident poet and stage manager in addition to being a friend of Brenna, the company's Secretary) proposed an opera, ''Cromwell,'' based on [[Victor Hugo]]'s [[Cromwell (play)\|play]], and on which he had started work. Mocenigo assured the composer of Piave's sense of the theatre and of musical forms, and so they agreed to proceed, although by the time of its approval by the Fenice authorities, it had become ''Allan Cameron'', a story set in the time just prior to the accession of Britain's [[Charles II of England\|Charles II]]. Immediately, Verdi took control and made it clear to Piave what he wanted in the way of a theatrical experience:<ref name="BUDD"/> "...Let's have as few words as possible ... Remember that brevity is never a fault ... But I do insist on brevity because that's what the public wants..."<ref>Verdi to Piave, 8 August 1843, in Budden (1984), p. 141</ref>

Zaslav: /* Composition history */ Ce

2024-03-02T18:11:15Z

Composition history: Ce

← Previous revision		Revision as of 18:11, 2 March 2024
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	Following the success of both ''[[Nabucco]]'' and ''[[I Lombardi alla prima crociata\|I Lombardi]]'', Verdi was approached by many opera companies wanting to commission him to write an opera for their houses. Rather than prepare another for La Scala, he was interested in a commission for two operas for the 1843–44 season (one of which would be ''I Lombardi'') which came from the President of the [[Teatro la Fenice]] in Venice, Marquis Nanni Mocenigo.		Following the success of both ''[[Nabucco]]'' and ''[[I Lombardi alla prima crociata\|I Lombardi]]'', Verdi was approached by many opera companies wanting to commission him to write an opera for their houses. Rather than prepare another for La Scala, he was interested in a commission for two operas for the 1843–44 season (one of which would be ''I Lombardi'') which came from the President of the [[Teatro la Fenice]] in Venice, Marquis Nanni Mocenigo.

	However, the composer was only willing to accept the terms which he proposed: 12,000 Austrian lire to be paid after the first performance, not the third as proposed by Venice (Verdi recalled what had happened to ''[[Un giorno di regno]]'' with its one and only performance). Amongst other stipulations, he demanded the right to choose his own subject, his own librettist, and also to pay him directly, as well as refusing to accept the requirement that a full orchestral score be available in advance. In addition, he had the right to choose the singers from the assembled company for that season.<ref name="BUDD">Budden (1984), pp. 139–141</ref> David Kimbell notes one additional demand:		However, the composer was only willing to accept the terms which he proposed: 12,000 Austrian lire to be paid after the first performance, not the third as proposed by Venice (Verdi recalled what had happened to ''[[Un giorno di regno]]'' with its one and only performance). Amongst other stipulations, he demanded the right to choose his own subject and his own librettist, and also to pay him directly, as well as refusing to accept the requirement that a full orchestral score be available in advance. In addition, he had the right to choose the singers from the assembled company for that season.<ref name="BUDD">Budden (1984), pp. 139–141</ref> David Kimbell notes one additional demand:

	<blockquote>He explains [to Mocenigo at La Fenice]—and this was rare at the time—that he began to compose only when the libretto was completed to his satisfaction because "when I have a general conception of the whole poem, the music comes of its own accord"<ref name="KIMB">Kimbell, in Holden 2001, pp. 980–981</ref></blockquote>		<blockquote>He explains [to Mocenigo at La Fenice]—and this was rare at the time—that he began to compose only when the libretto was completed to his satisfaction because "when I have a general conception of the whole poem, the music comes of its own accord"<ref name="KIMB">Kimbell, in Holden 2001, pp. 980–981</ref></blockquote>

Michael Bednarek: +requested citation – for a fact that was already cited in the body – might as well be removed again per MOS:LEADCITE; +IMSLP; drop bedard.com advertisement

2023-11-28T13:13:21Z

+requested citation – for a fact that was already cited in the body – might as well be removed again per MOS:LEADCITE; +IMSLP; drop bedard.com advertisement

Show changes

Gerda Arendt: trim listem pic placement, avoid left, upright, no fixed image sizes

2023-11-28T12:00:06Z

trim listem pic placement, avoid left, upright, no fixed image sizes

← Previous revision		Revision as of 12:00, 28 November 2023
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	{{short description\|Opera by Giuseppe Verdi}}		{{short description\|Opera by Giuseppe Verdi}}
	{{other uses}}{{More citations needed\|date=October 2023}}{{Infobox opera		{{other uses}}{{More citations needed\|date=October 2023}}
			{{Infobox opera
	\| name = ''Ernani''		\| name = ''Ernani''
	\| genre_header = Opera		\| genre_header = Opera
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	==Composition history==		==Composition history==
	[[File:Giuseppe_Verdi_portrait.jpg#file\|thumb\|~~Giuseppe~~ Verdi]]		[[File:Giuseppe_Verdi_portrait.jpg#file\|thumb\|upright\|Verdi]]

	Following the success of both ''[[Nabucco]]'' and ''[[I Lombardi alla prima crociata\|I Lombardi]]'', Verdi was approached by many opera companies wanting to commission him to write an opera for their houses. Rather than prepare another for La Scala, he was interested in a commission for two operas for the 1843–44 season (one of which would be ''I Lombardi'') which came from the President of the [[Teatro la Fenice]] in Venice, Marquis Nanni Mocenigo.		Following the success of both ''[[Nabucco]]'' and ''[[I Lombardi alla prima crociata\|I Lombardi]]'', Verdi was approached by many opera companies wanting to commission him to write an opera for their houses. Rather than prepare another for La Scala, he was interested in a commission for two operas for the 1843–44 season (one of which would be ''I Lombardi'') which came from the President of the [[Teatro la Fenice]] in Venice, Marquis Nanni Mocenigo.
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	=== Setting the play as the opera, ''Ernani'' ===		=== Setting the play as the opera, ''Ernani'' ===
	[[File:Hernani.gif\|thumb~~\|250px\|left~~\|Act 1, sc. 1 of ''Hernani'': the king steps from the cupboard to confront Hernani and Doña Sol (Elvira)]]		[[File:Hernani.gif\|thumb\|Act 1, sc. 1 of ''Hernani'': the king steps from the cupboard to confront Hernani and Doña Sol (Elvira)]]

	However, Piave was not at all pleased by this turn of events and felt that an opera based on ''Hernani'' could not be staged for reasons of censorship. For instance, the King's first appearance in the play is from a cupboard where he has been hiding since some time after his arrival and before he meets Elvira. Thus he overhears much of the interaction between Elvira and Ernani before finally revealing himself. Verdi must have realized that no king "would ever be allowed to hide in a cupboard", something which Budden notes.<ref name="BUDD2"/>		However, Piave was not at all pleased by this turn of events and felt that an opera based on ''Hernani'' could not be staged for reasons of censorship. For instance, the King's first appearance in the play is from a cupboard where he has been hiding since some time after his arrival and before he meets Elvira. Thus he overhears much of the interaction between Elvira and Ernani before finally revealing himself. Verdi must have realized that no king "would ever be allowed to hide in a cupboard", something which Budden notes.<ref name="BUDD2"/>
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	==Performance history==		==Performance history==
	=== 19th century ===		=== 19th century ===
	[[File:Antonio Selva-bass.png\|~~150px~~\|thumb\|[[Antonio Selva]], the first Silva]]		[[File:Antonio Selva-bass.png\|upright\|thumb\|[[Antonio Selva]], the first Silva]]
	[[File:Sophie Löwe.jpg\|thumb\|~~150px~~\|[[Sophie Löwe]], the first Elvira]]		[[File:Sophie Löwe.jpg\|thumb\|upright\|[[Sophie Löwe]], the first Elvira]]

	Budden sums up the opening night success of ''Ernani'': nothing "prevented [the opera] from being a tremendous success. With it, Verdi's fame took a new leap which carried it at once across the boundaries of Italy. For better or worse, he was now a world composer [.....and] wherever there was an Italian opera house, ''Ernani'' arrived sooner or later."<ref name="BUDD3">Budden (1984), p. 146</ref> However, it was not all smooth sailing: due to Hugo's opposition, the first performances in Paris at the [[Théâtre des Italiens]] two years later required a change of title - to ''Il Proscritto'' - and a change of characters' names: "The practice was followed in other cities where the names Victor Hugo and ''Hernani'' smacked of revolution."<ref name="BUDD3"/> In Palermo in 1845 it became ''Elvira d'Aragona'' and in Messina in 1847 the title became ''Il proscritto ossia Il corsaro di Venezia''. Overall, ''Ernani'' was staged in one form or another up to the mid-1850s, with "32 theatres [giving] the work in 1844, 60 in 1845, and at least 65 in 1846, not including revivals in houses that had already presented it."<ref>Phillips-Matz 1997, pp. 163–164, referencing Marcello Conati, "''Ernani'' di Verdi; le critiche del tempo" in ''Ernani ieri e oggi''.</ref>		Budden sums up the opening night success of ''Ernani'': nothing "prevented [the opera] from being a tremendous success. With it, Verdi's fame took a new leap which carried it at once across the boundaries of Italy. For better or worse, he was now a world composer [.....and] wherever there was an Italian opera house, ''Ernani'' arrived sooner or later."<ref name="BUDD3">Budden (1984), p. 146</ref> However, it was not all smooth sailing: due to Hugo's opposition, the first performances in Paris at the [[Théâtre des Italiens]] two years later required a change of title - to ''Il Proscritto'' - and a change of characters' names: "The practice was followed in other cities where the names Victor Hugo and ''Hernani'' smacked of revolution."<ref name="BUDD3"/> In Palermo in 1845 it became ''Elvira d'Aragona'' and in Messina in 1847 the title became ''Il proscritto ossia Il corsaro di Venezia''. Overall, ''Ernani'' was staged in one form or another up to the mid-1850s, with "32 theatres [giving] the work in 1844, 60 in 1845, and at least 65 in 1846, not including revivals in houses that had already presented it."<ref>Phillips-Matz 1997, pp. 163–164, referencing Marcello Conati, "''Ernani'' di Verdi; le critiche del tempo" in ''Ernani ieri e oggi''.</ref>
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	== Synopsis ==		== Synopsis ==
	[[File:Francesco_Maria_Piave_-_Granger.jpg\|thumb\|Francesco Maria Piave, the librettist ~~of the opera~~]]		[[File:Francesco_Maria_Piave_-_Granger.jpg\|thumb\|upright\|Francesco Maria Piave, the librettist]]
	:Time: 1519.		:Time: 1519.
	:Place: [[Aragon]], [[Aachen]], and [[Zaragoza]].		:Place: [[Aragon]], [[Aachen]], and [[Zaragoza]].
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	===Act 2===		===Act 2===
	''A hall in Silva's palace''		''A hall in Silva's palace''
	[[File:Hernani-Hugo play-act 3.jpg\|thumb\|~~left\|150px~~\|Scene from Hugo's play: Ernani seeks shelter]]		[[File:Hernani-Hugo play-act 3.jpg\|thumb\|upright\|Scene from Hugo's play: Ernani seeks shelter]]
	Ernani enters disguised as a pilgrim. He asks for shelter, which Silva grants him, and then learns from Silva that he is about to marry Elvira, who believes Ernani to be dead. Ernani reveals his true identity to Elvira and she tells him that she plans to kill herself at the altar (Duet: ''Ah, morir potessi adesso'' / "Ah, if I could die now"). Silva walks in at that moment, discovers the pair, but agrees to keep his word to Ernani and protect him from the king, for which Ernani will owe him a perpetual debt. (Trio: ''No, vendetta più tremenda'' / "No, I want to keep a greater revenge"). Carlo arrives and wishes to know why the castle is barred. Silva refuses to surrender Ernani (Carlo's aria: ''Lo vedremo, veglio audace'' / "We shall see, you bold old man") and Don Carlo's men cannot find Ernani's hiding place. Silva keeps his word, even when the king secures Elvira as a hostage. Silva releases Ernani, and then challenges him to a duel. Ernani refuses to fight, but unites with Silva in his plans to free Elvira from the king. Ernani swears to appear at the summons of Silva, wherever he may be at that time (''Odi il voto o grande Iddio'' / "Oh God, hear the vow"),		Ernani enters disguised as a pilgrim. He asks for shelter, which Silva grants him, and then learns from Silva that he is about to marry Elvira, who believes Ernani to be dead. Ernani reveals his true identity to Elvira and she tells him that she plans to kill herself at the altar (Duet: ''Ah, morir potessi adesso'' / "Ah, if I could die now"). Silva walks in at that moment, discovers the pair, but agrees to keep his word to Ernani and protect him from the king, for which Ernani will owe him a perpetual debt. (Trio: ''No, vendetta più tremenda'' / "No, I want to keep a greater revenge"). Carlo arrives and wishes to know why the castle is barred. Silva refuses to surrender Ernani (Carlo's aria: ''Lo vedremo, veglio audace'' / "We shall see, you bold old man") and Don Carlo's men cannot find Ernani's hiding place. Silva keeps his word, even when the king secures Elvira as a hostage. Silva releases Ernani, and then challenges him to a duel. Ernani refuses to fight, but unites with Silva in his plans to free Elvira from the king. Ernani swears to appear at the summons of Silva, wherever he may be at that time (''Odi il voto o grande Iddio'' / "Oh God, hear the vow"),

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	===Act 3===		===Act 3===
	{{Listen		{{Listen\|image=none\|help=no
	\|title=Act III: "O sommo Carlo"		\|title=Act III: "O sommo Carlo"
	\|filename=Mattia_Battistini,_Emilia_Corsi,_Luigi_Colazza,_Aristodemo_Sillich,_Giuseppi_Verdi,_O_sommo_Carlo_(Ernani).ogg		\|filename=Mattia_Battistini,_Emilia_Corsi,_Luigi_Colazza,_Aristodemo_Sillich,_Giuseppi_Verdi,_O_sommo_Carlo_(Ernani).ogg
	\|description="O sommo Carlo", sung by Mattia Battistini, Emilia Corsi, Luigi Colazza, Aristodemo Sillich, and the La Scala chorus in 1906.		\|description="O sommo Carlo", sung by Mattia Battistini, Emilia Corsi, Luigi Colazza, Aristodemo Sillich, and the La Scala chorus in 1906.
	}}		}}
	[[~~Image~~:Aken dom.jpg\|thumb~~\|200px~~\|Shrine of Charles at Aachen.]]		[[File:Aken dom.jpg\|thumb\|Shrine of Charles at Aachen.]]
	''In the burial vault of [[Charles the Great]] at Aachen''		''In the burial vault of [[Charles the Great]] at Aachen''

Ittniguto: added citation template

2023-10-10T07:15:19Z

added citation template

← Previous revision		Revision as of 07:15, 10 October 2023
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	{{short description\|Opera by Giuseppe Verdi}}		{{short description\|Opera by Giuseppe Verdi}}
			{{other uses}}{{More citations needed\|date=October 2023}}{{Infobox opera
	{{other uses}}
	{{Infobox opera
	\| name = ''Ernani''		\| name = ''Ernani''
	\| genre_header = Opera		\| genre_header = Opera

HeyElliott: /* Verdi and theatre */ WP:N'T

2023-07-30T01:09:28Z

Verdi and theatre: WP:N'T

← Previous revision		Revision as of 01:09, 30 July 2023
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	<blockquote>...from the first the spirit of Hugo is there. Verdi [ten years younger than the playwright] was part of that youthful audience to which the play ''Hernani'' is addressed. The bounding energy of Hugo's alexandrines is reflected in the spirit of Verdi's music, which is far more forceful than anything he had written so far. Victor Hugo, one might say, was good for Verdi; and it significant that both the operas that he based on Hugo's plays (the other was of course ''[[Rigoletto]]'') were landmarks in his career.</blockquote>		<blockquote>...from the first the spirit of Hugo is there. Verdi [ten years younger than the playwright] was part of that youthful audience to which the play ''Hernani'' is addressed. The bounding energy of Hugo's alexandrines is reflected in the spirit of Verdi's music, which is far more forceful than anything he had written so far. Victor Hugo, one might say, was good for Verdi; and it significant that both the operas that he based on Hugo's plays (the other was of course ''[[Rigoletto]]'') were landmarks in his career.</blockquote>

	But it is the composer himself who, in a letter to Brenna, the La Fenice secretary and a friend of Piave's, sums up his own sense of theatre, of what works and what ~~doesn't~~. This was written at a time when Piave was unhappy about the shift from his original libretto to the one for what became ''Ernani''. With this shift came many changes of direction as issues such as casting came into consideration, and Verdi asks Brenna to communicate his feelings to the librettist:		But it is the composer himself who, in a letter to Brenna, the La Fenice secretary and a friend of Piave's, sums up his own sense of theatre, of what works and what does not. This was written at a time when Piave was unhappy about the shift from his original libretto to the one for what became ''Ernani''. With this shift came many changes of direction as issues such as casting came into consideration, and Verdi asks Brenna to communicate his feelings to the librettist:

	<blockquote>However little experience I may have had, I do go to the theatre [Verdi is referring to the opera house] all the year round and I pay the most careful attention to what I see and hear. I've been able to put my finger on so many works which wouldn't have failed if the pieces had been better laid out, the effects better calculated, the musical forms clearer, etc....in a word, if either the composer or the poet had been more experienced.<ref>Verdi to Brenna, 15 November 1843, in Budden (1984), p. 145</ref></blockquote>		<blockquote>However little experience I may have had, I do go to the theatre [Verdi is referring to the opera house] all the year round and I pay the most careful attention to what I see and hear. I've been able to put my finger on so many works which wouldn't have failed if the pieces had been better laid out, the effects better calculated, the musical forms clearer, etc....in a word, if either the composer or the poet had been more experienced.<ref>Verdi to Brenna, 15 November 1843, in Budden (1984), p. 145</ref></blockquote>

AnomieBOT: Dating maintenance tags: {{Fact}}

2023-02-05T11:52:10Z

Dating maintenance tags: {{Fact}}

← Previous revision		Revision as of 11:52, 5 February 2023
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	''Ernani'' was first performed on 9 March 1844, and it was "immensely popular, and was revived countless times during its early years".<ref name="PARK"/>		''Ernani'' was first performed on 9 March 1844, and it was "immensely popular, and was revived countless times during its early years".<ref name="PARK"/>

	It became Verdi's most popular opera until it was superseded by ''[[Il trovatore]]'' after 1853. In 1904, it became the first opera to be recorded completely.{{fact}}		It became Verdi's most popular opera until it was superseded by ''[[Il trovatore]]'' after 1853. In 1904, it became the first opera to be recorded completely.{{fact\|date=February 2023}}

	==Composition history==		==Composition history==

2600:1008:A117:ACDB:3CBD:818E:8A10:CBDB: fix typo

2023-02-05T09:51:18Z

fix typo

← Previous revision		Revision as of 09:51, 5 February 2023
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	'''''Ernani''''' is an [[opera]]tic ''dramma lirico'' in four acts by [[Giuseppe Verdi]] to an Italian [[libretto]] by [[Francesco Maria Piave]], based on the 1830 play ''[[Hernani (drama)\|Hernani]]'' by [[Victor Hugo]].		'''''Ernani''''' is an [[opera]]tic ''dramma lirico'' in four acts by [[Giuseppe Verdi]] to an Italian [[libretto]] by [[Francesco Maria Piave]], based on the 1830 play ''[[Hernani (drama)\|Hernani]]'' by [[Victor Hugo]].

	Verdi was commissioned by the [[Teatro La Fenice]] in [[Venice]] to write an opera, but finding the right subject took some time, and the composer worked with the inexperienced Piave in shaping first one and then another drama by Hugo into an acceptable libretto. As musicologist [[Roger Parker]] notes, the composer "intervened on several important points, insisting for example that the role of Ernani be sung by a tenor (rather than by a contralto as had originally been planned).<ref name="PARK">Parker, p. 71</ref>		Verdi was commissioned by the [[Teatro La Fenice]] in [[Venice]] to write an opera, but finding the right subject took some time, and the composer worked with the inexperienced Piave in shaping first one and then another drama by Hugo into an acceptable libretto. As musicologist [[Roger Parker]] notes, the composer "intervened on several important points, insisting for example that the role of Ernani be sung by a tenor (rather than by a contralto as had originally been planned)".<ref name="PARK">Parker, p. 71</ref>

	''Ernani'' was first performed on 9 March 1844 and it was "immensely popular, and was revived countless times during its early years".<ref name="PARK"/> It became Verdi's most popular opera until it was superseded by ''[[Il trovatore]]'' after 1853. In 1904 it became the first opera to be recorded completely.		''Ernani'' was first performed on 9 March 1844, and it was "immensely popular, and was revived countless times during its early years".<ref name="PARK"/>

			It became Verdi's most popular opera until it was superseded by ''[[Il trovatore]]'' after 1853. In 1904, it became the first opera to be recorded completely.{{fact}}

	==Composition history==		==Composition history==