en ▁Hans ell , ▁she ▁states ▁quite ▁clearly ▁that ▁" The ▁performance ▁history ▁of ▁St iff el io ▁as ▁Ver di ▁en vision ed ▁it ▁literally ▁began ▁only ▁in ▁ 1 9 9 3 ." ▁ ▁She ▁might ▁have ▁added ▁" 2 1 ▁October ▁ 1 9 9 3 ", ▁since ▁this ▁was ▁the ▁occasion ▁when ▁the ▁Metropolitan ▁Opera ▁presented ▁the ▁work ▁based ▁on ▁the ▁discover ies ▁which ▁had ▁been ▁found ▁in ▁the ▁composer ' s ▁aut ograph ▁manuscript ▁by ▁music ologist ▁Philip ▁G os sett ▁the ▁previous ▁year ▁and ▁which ▁were ▁eventually ▁included ▁in ▁the ▁critical ▁edition ▁prepared ▁by ▁her ▁for ▁the ▁University ▁of ▁Chicago ▁in ▁ 2 0 0 3 . ▁ ▁In ▁setting ▁the ▁context ▁of ▁the ▁re - cre ation ▁of ▁the ▁opera , ▁Hans ell ▁states : ▁This ▁opera , ▁composed ▁in ▁tan dem ▁with ▁R igo let to ▁and ▁sharing ▁many ▁of ▁its ▁forward - looking ▁characteristics , ▁suffered ▁even ▁more ▁than ▁R igo let to ▁from ▁the ▁cens ors ' ▁strict ures . ▁The ▁story ▁of ▁[ the ▁opera ...] ▁shock ed ▁conserv ative ▁post - Re volution ary ▁Italian ▁religious ▁and ▁political ▁powers . ▁From ▁its ▁very ▁premi ere ▁at ▁Tri este ▁in ▁November ▁ 1 8 5 0 , ▁its ▁text ▁was ▁dil uted ▁to ▁appe ase ▁the ▁authorities , ▁making ▁a ▁mock ery ▁of ▁the ▁action ▁and ▁thus ▁of ▁Ver di ' s ▁carefully ▁cal ibr ated ▁music . ▁The ▁libre tto ▁was ▁re written ▁for ▁subsequent ▁rev iv als , ▁and ▁even