Giuseppe Verdi's Jérusalem between Adaptation and Self-Borrowing

Giuseppe Verdi's first French opera, Jérusalem (1847), has often been described as a French version of his fourth opera, I lombardi alla prima crociata (1843). It is hardly a straightforward translation, however; the process of adapting the source to the French stage involved substantial rewriting of the libretto, thoroughly recasting the storyline and therefore requiring numerous changes in the music. Thus, Verdi not only provided several entirely new sections for the score of Jérusalem, but also reused material from I lombardi in radically different dramatic settings. The purpose of this article is to review changing attitudes toward Jérusalem through the twentieth century, and to assert that it may be perceived both as a reworking of the earlier opera and as a new work in which Verdi, under unique circumstances, deployed strategies of self-borrowing. The first part addresses the historiography of Jérusalem, tracing changing attitudes of commentators gradually recognizing the importance and worth of the French work, and the second part examines in detail the transfer of selected passages that Verdi borrowed from I lombardi and adapted to vastly changed contexts.