"Ernani," a tragic opera in four acts, words by F.M. Piave, the subject taken from Victor Hugo's tragedy of "Hernani," was first produced at Venice, March 9, 1844. The earlier performances of the opera gave the composer much trouble. Before the first production the police interfered, refusing to allow the representation of a conspiracy on the stage, so that many parts of the libretto, as well as much of the music, had to be changed. The blowing of Don Silva's horn in the last act was also objected to by one Count Mocenigo, upon the singular ground that it was disgraceful. The Count, however, was silenced more easily than the police. The chorus "Si ridesti il Leon di Castiglia" also aroused a political manifestation by the Venetians. The opera was given in Paris, Jan. 6, 1846, and there it encountered the hostility of Victor Hugo, who demanded that the libretto should be changed. To accommodate the irate poet, the words were altered, the characters were changed to Italians, and the new title of "II Proscritto" was given to the work.
The action of the opera takes place in Arragon, Spain, and the period is 1519. Elvira, a noble Spanish lady, betrothed to the grandee Don Gomez de Silva, is in love with the bandit Ernani, who forms a plan to carry her off. While receiving the congratulations of her friends upon her approaching marriage with Silva, Don Carlos, the King of Spain, enters her apartment, declares his passion for her, and tries to force her from the castle. She cries for help, and Ernani comes to her rescue and defies the king. The situation is still further complicated by the sudden arrival of Silva, who declares he will avenge the insult. Finding, however, that it is the King whom he has challenged, he sues for pardon. In the second act, as the nuptials are about to be solemnized, Ernani enters, disguised as a pilgrim, and believing Elvira false to him, throws off his disguise and demands to be given up to the King, which Silva refuses, as he cannot betray a guest. Discovering, however, that Elvira and Ernani are attached to each other, he determines on vengeance. The King eventually carries off Elvira as a hostage of the faith of Silva, whereupon the latter challenges Ernani. The bandit refuses to fight with him, informs him that the King is also his rival, and asks to share in his vengeance, promising in turn to give up his life when Silva calls for it, and presenting him with a horn which he is to sound whenever he wishes to have the promise kept. In the third act, the King, aware that the conspirators are to meet in the catacombs of Aquisgrana, conceals himself there, and when the assassins meet to decide who shall kill him, he suddenly appears among them and condemns the nobles to be sent to the block. Ernani, who is a duke, under the ban of the King of Castile, demands the right to join them, but the King magnanimously pardons the conspirators and consents to the union of Ernani and Elvira. Upon the very eve of their happiness, and in the midst of their festivities, the fatal horn is heard, and true to his promise Ernani parts from Elvira and kills himself.
The first act opens with a spirited chorus of banditti and mountaineers ("Allegri, beviami") as they are drinking and gambling in their mountain retreat. Ernani appears upon a neighboring height and announces himself in a despondent aria ("Come rugiada al cespite"). A brief snatch of chorus intervenes, when he breaks out in a second and more passionate strain ("Dell' esilio nel dolore"), in which he sings of his love for Elvira. The third scene opens in Elvira's apartments, and is introduced with one of the most beautiful of Verdi's arias, "Ernani, involami," with which all concert-goers have become acquainted by its frequent repetition. A graceful chorus of her ladies bearing gifts leads to a second and more florid number ("Tutto sprezzo che d' Ernani"). Don Carlos enters, and in the seventh scene has an aria ("Bella come un primo amore") in which he declares his passion for Elvira, leading up to a very dramatic duet between them ("Fiero sangue d' Aragona"). This is followed in turn by a trio between the two and Ernani. The finale commences with an impressive and sonorous bass solo ("Infelice! e tuo credevi") by Silva, and closes with a septet and chorus of great power.
The second act, like the first, opens with a chorus, this time, however, of mixed voices, the power of which is amplified by a military band on the stage. After three scenes of dramatic dialogue, an impassioned duet ("Ah! morir potessi adesso!") occurs between Ernani and Elvira, followed by a second, of great dramatic intensity, in the seventh scene ("La vendetta piu tremenda"). The finale begins with a spirited appeal by Silva and Ernani for vengeance against the King ("In arcione, cavalieri") which is met by a stirring response from their followers ("Pronti vedi li tuoi cavalieri"), sung by full male chorus and closing the act.
The third act is devoted to the conspiracy, and in the second scene Don Carlos has a very impressive and at times thrilling soliloquy ("Gran Dio! costo sui sepolcrali marmi"). The conspiracy then begins with very characteristic accompaniments, closing with the chorus in full harmony ("Si ridesti il Leon di Castiglia"), which at the performance of the work in Venice roused such a fury among the Venetians. The finale commences with the appearance of Don Carlos among the conspirators, and closes with the great sextet and chorus, "O Sommo Carlo." Opening with a barytone solo, it is gradually worked up in a crescendo of great power and thrilling effect. The number is very familiar from its English setting under the title, "Crowned with the Tempest."
The fourth act rapidly hurries to the tragic close, and is less interesting from a musical point of view, as the climax was reached in the finale of the third. The principal numbers are the chorus of masks in the first scene ("O come felici"), accompanied by military band, and the great duet between Elvira and Ernani ("Cessaro i suoni"), which passes from rapturous ecstasy to the despair of fate ("Per noi d' amore il talamo") as the horn of Silva is heard, reminding Ernani of his promise. Though one of the earliest of Verdi's works, "Ernani" is one of his strongest in dramatic intensity, in the brilliancy and power of its concerted finales, and in the beauty of its great chorus effects.
