Then came the second blow: Solera left the project altogether and followed his opera singer wife to Madrid where he became director of the Royal Theatre, leaving only the draft sketch of the third act.Īs things turned out, Verdi returned to Piave for the completion of act 3 – with Solera's blessing. But the pace began to slow as, firstly, illness limited the composer's ability to do much work. These included reversing the order of key scenes and, in the case of the opening scene showing the foundation of Venice, totally inventing it. Solera's approach to the project was to emphasize an appeal to Italian, specifically Venetian, patriotism, while ignoring many of the elements of the play. No clear reason for this change seems to have emerged, except that Gabriele Baldini speculates that, in returning to Solera, he was more comfortable working with a librettist who was more suited to "sketching epic sagas and historical-religious frescoes. But, as Attila was to be the second opera Verdi would be writing for Venice, he appears to have changed his mind about working with Piave as the librettist and then convinced him to relinquish the project, seemingly preferring to work with Solera, who had been his librettist for both Nabucco and I Lombardi, two operas which employed the format of large choral tableaux and something which the librettist was prepared to re-use for the new opera.
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