This opera, written during the composer's middle period, was later revised into Aroldo, largely because of difficulties with the plot. The story is of a married Protestant minister, and Verdi's Italian audiences found it difficult to empathize with such a character. The opera also had no "instant hit" hummable melodies such as those in Rigoletto, or Trovatore, other operas of the same period, so even in its revision, it has never had a huge public success. Despite this, it still has many elements of Verdi's best works, with exceptionally powerful ensemble writing and a vivid, insightful portrayal of the title character's struggles with his emotions and his beliefs.

Stiffelio, a minister, comes back to the home of his father-in-law, Stankar, and his wife, Lina. In his absence, she has been seduced by a nobleman. During the opera, we see him constantly fighting his inclinations towards violence and anger, the conflict between his feelings as a man and as a minister. In the deeply moving final scene, when preaching, he opens the Bible to the story of the woman caught in adultery, whom Jesus pardoned and saved from stoning by the famous line, "Let the one who is without sin cast the first stone." As Stiffelio reads the line, "And she rose, forgiven," he finds the strength to forgive Lina, and repeats, loudly, "Forgiven," as the ensemble repeats the same theme. This stands in an interesting contrast to the more "operatic" reaction of Stankar, who in a despairing aria considers killing himself over the family dishonor, and in a bloodthirsty cabaletta declares his intention, later carried out, of killing his daughter's seducer.

The music, while still not as insightful or compelling as the more mature Verdi, or as winningly melodic as most middle Verdi, is nonetheless powerful and emotional, and often more than hints at the music of a later jealous husband, Otello.

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