The essential reason why Verdi decided to set to music a Macbeth, arranged and adapted by him for the operatic stage and with a libretto by Piave, had nothing to do with his particular interest in Shakespearean tragedy. It primarily concerned the choice of singer who would ‘create’ the principal role. Had Moriani been available Verdi would certainly have composed I Masnadieri, in which he envisaged a long, elaborate tenor part; if on the other hand the management – in this case Lanari – could guarantee the baritone Varesi, then the composer would put I Masnadieri to one side and tackle Macbeth which, as well as having a large baritone part, required almost no contribution from the tenor and would thus be in no danger even if the latter part were entrusted to a mediocre performer.

We should remember that all this took place before a single note of either I Masnadieri or Macbeth had been written. Verdi was not deciding on a particular artistic direction, still less whether to confront a great tragic theme. We are dealing with an opera of the kind written to suit specific singers. Nothing could be put down on paper until these had been engaged: later on the music would or would not come, of its own accord.