In February 1852, Verdi signed a contract to provide Paris with a grand opera to be staged in 1855, during the Universal Exhibition. It is clear from the contract that the composer knew himself to be a valuable commodity. He laid out a strict timetable for delivery of libretto and music and stipulated there would be three months rehearsal time allotted to his pieces and no other new work that season. Verdi requested a text by Eugène Scribe (1791-1861), Giacomo Meyerbeer's chief librettist. Verdi and Scribe elected to adapt an old libretto, entitled La Duc d'Albe, written in 1838 by Scribe and Charles Duveyrier (1803-1866) for Jacques Halévy (1799-1862). Halévy never set the text, and Gaetano Donizetti (1797-1848) began working on it in 1839, but failed to finish. Verdi accepted the scenario but wanted some changes, including moving the action from the Netherlands to Palermo, Sicily, at the time of the 1282 revolt against the French. Verdi fashioned the libretto to his liking, especially the fourth act. He was intent on having scenes of great spectacle, such as those in some of Meyerbeer's operas, but he did not get them.

Les vêpres siciliennes was first performed at the Académie Impériale de Musique in Paris on June 13, 1855, to critical acclaim. The first Italian version, translated by Eugenio Caimi, was distorted by the requirements of the Italian censors and entitled Giovanna de Guzman. Subsequent performances as I vespri siciliani retained most of Caimi's text and this is the Italian version performed today.

Consisting of themes from the opera, Verdi's overture, occasionally performed in concert, is his longest and has elements of sonata form. It is in two parts, the first focusing on "death" motives and Hélène's first aria, and the second on the duet for Henri and Montfort in Act Three. Verdi opens the drama with a stirring double chorus contrasting the occupying French soldiers with the Sicilian people through their disparate music. Other highlights include the unusual duet for Montfort and Henri that forms the finale of Act One. Montfort's opening melody is "conversational" in that it does not fall into short segments, but extends to 30 measures while modulating. The characters' mutual hatred comes through in their themes. Verdi exploits "local color" in the music beginning Act Two, which evokes the movement of the boat on which Procida arrives, and a barcarolle later in the act, depicting a boat full of French soldiers. Procida's entrance aria, "Et toi, Palerme," is the most famous number from the opera and features exquisite orchestration. In the central section, as Procida describes his travels from country to country, the harmony migrates from place to place. The Trio for Hélène, Henri, and Procida in Act Five is a high point. The huge choral finale of Act Three is typical of French grand opera.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.