The libretto of I Masnadieri was written by Andrea Maffei after Friedrich Schiller's (1759-1805) play, Die Räuber, of 1781. In four acts, the opera's action takes place in Germany at the beginning of the eighteenth century. Verdi originally intended the opera for Florence, but when he learned he would not be able to secure the tenor Franchesi he waited and later signed a contract with Her Majesty's Theatre in London. The composer's insistence that Jenny Lind play the part of Amalia led to some difficulty, but he got his wish. Verdi's first premiere abroad, I Masnadieri received its first performance on July 22, 1847.

Numerous characteristics of I Masnadieri point to Verdi and Maffei's wish to subvert conventions in the interest of drama as well as create a piece for specific circumstances. The Prelude resembles a diminutive cello concerto and was composed for Alfredo Piatti, the famous first cellist of the orchestra of Her Majesty's Theatre. The Prelude's stormy opening is recycled in the coda and, like a romanza, it moves from minor to major. In a break with tradition, the opera does not open with a chorus, but introduces the primo tenore immediately in a double aria for Carlo and chorus. Verdi's ability to characterize comes to the fore in the second scene, in which Carlo's evil brother, Francesco, sings a double aria of aggressive, angular lines telling of his wish that Carlo and his father, Massimiliano, were dead so he could assume power. The first, and every, aria for Amalia is clearly written for Jenny Lind, featuring ornamentation and bravura passages atypical of Verdi's arias. The close of the first act is an excellent quartet for Massimiliano, Amalia, Francesco, and Armino in which their contrasting musical identities convey their clashing emotions.

A high point of the second act is the soprano-baritone duet for Francesco and Amalia, "Io t'amo, Amalia"—one of Verdi's confrontational, "dissimilar" duets for these two voice types. The second scene opens with a very complex chorus for the bandits, who close the act with a more conventional, powerful choral number. The dramatic turning point of the opera is in the third act, when Carlo discovers both Amalia and his father, the latter explaining Francesco's treachery in a fascinating arioso that progresses from minor to major.

In the fourth act, Francesco's solo, "Pareami che sorto da lauto convito," is a portent of the introspective, self-reflective numbers that appear in Verdi's later works. The duet for Carlo and Massimiliano, "Come il bacio d'un padre," brings to mind Bellini in its tender melodies and rocking accompaniment in the violins. The opera closes not with a large, concerted Finale but with a trio for Amalia, Carlo, and Massimiliano with interjections from the chorus of bandits.

Unfortunately, the famous members of the opening night cast inspired Verdi to compose high-flying music particularly suited to each performer, resulting in great moments that do not coalesce into a dramatically effective, musically consistent whole.

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