![il corsaro blu il corsaro blu](https://images-na.ssl-images-amazon.com/images/I/714+FTjIVbL._AC_UL160_SR160,160_.jpg)
Thus, I masnadieri became the opera for London, and Verdi (and his long-time assistant and student, Emanuele Muzio) traveled to that city at the end of May 1847 for the premiere performance which was held on 22 July 1847, after which the composer returned to Paris – where he remained for two years – while Muzio returned to Milan. But, by the end of the year, when Lucca and the British impresario, Benjamin Lumley were raising the issue of the London contract, Verdi replied that he found Il corsaro "dull ( freddo) and theatrically ineffective". Verdi was shocked: "Give you back Il corsaro, that Corsaro which has always fascinated me and which I've thought about so much, and which you've put into verse with more than your usual care?" The composer continues to explain details of the work on the music he has already done, but notes "I still have to write the opera for Lucca." Piave relented, and he moved ahead on Macbeth 's libretto. Impatient because of the delays, Piave had asked for his libretto to be returned to him in order that he might fulfill another commitment. However, Verdi had not lost sight of Corsaro at all, as is demonstrated in a letter he wrote to Piave. Three things prevented it from being I masnadieri at that time: firstly, Verdi's illness postponed any opera for London for almost a year secondly, he demanded that the work be Il corsaro and that it be written by Piave, who had begun work and, thirdly, by 1846 and the planning for London continuing, Verdi became more interested in I masnadieri or Macbeth ("in that order" notes Budden), but with the long-term view being that one of them would be for Florence. In 1845, (before it was determined that I masnadieri was to be the opera presented in London), the composer had contracted with the Milanese publisher, Francesco Lucca, for three operas, including Attila and one for London. The adventure is flamboyant with an impressing finale, the pirates using a religious festival to conquer an unassailable castle, but consistently superficial - the hero has no depth and only thinks of gold, although he ultimately allows himself to be convinced that freedom is better than money.The composer expressed interest in Byron's poem The Corsair (along with The Two Foscari and others) as early as 1844 when he was planning an opera for Venice, but a suitable baritone was not available. There are a few pretty ladies also involved in the story, Geoffrey Brooks loves two of them and is also sometimes betrayed, so the whole story is like a prehistoric James Bond intrigue at sea with no revolvers but plenty of swords, blunderbusses and cannons ripping ships apart, while the protagonist every now and then steals a kiss or a bed with one one of the ladies. The protagonist, Geoffrey Brooks, a corsair, actually fights all nations on his long adventurous course to freedom, he takes ships from both French and Portuguese, each time acquiring a better ship and letting the used one go down, and in all these many fights and battles with different established national marines, there are amazingly few off the corsairs who go down while all the French, Portuguese and others are pierced and thrown over board in masses. This is a Spanish-Italian film, but many other nations are involved as well.