▁adds ▁that ▁the ▁Ven et ian ▁cens ors ▁had ▁allowed ▁Ern ani . ▁ ▁Re actions ▁to ▁the ▁choice ▁of ▁subject ▁and ▁how ▁it ▁worked ▁as ▁a ▁libre tto ▁and ▁opera ▁have ▁been ▁fairly ▁uniform . ▁ ▁Music ologist ▁Roger ▁Parker ▁in ▁Gro ve ▁describes ▁it ▁as : ▁A ▁bold ▁choice , ▁a ▁far ▁cry ▁from ▁the ▁mel od ram atic ▁plots ▁of ▁By ron ▁and ▁Hugo : ▁modern , ▁' real istic ', ▁subjects ▁were ▁unusual ▁in ▁Italian ▁opera , ▁and ▁the ▁religious ▁subject ▁matter ▁seemed ▁bound ▁to ▁cause ▁problems ▁with ▁the ▁c ensor . ▁[...] ▁The ▁t endency ▁of ▁its ▁most ▁powerful ▁moments ▁to ▁avoid ▁or ▁rad ically ▁manipulate ▁traditional ▁structures ▁has ▁been ▁much ▁pra ised . ▁Bud den ▁basically ▁agre es , ▁stating ▁that ▁"[ V erd i ] ▁was ▁tired ▁of ▁stock ▁subjects ; ▁he ▁wanted ▁something ▁with ▁genu in ely ▁human , ▁as ▁distinct ▁from ▁mel od ram atic , ▁interest . ▁[ .... ] ▁St iff el io ▁had ▁the ▁att raction ▁of ▁being ▁a ▁problem ▁play ▁with ▁a ▁core ▁of ▁moral ▁sens ibility ; ▁the ▁same ▁att raction , ▁in ▁fact , ▁that ▁led ▁Ver di ▁to ▁La ▁tra vi ata ▁a ▁little ▁later . ▁ ▁As ▁St iff el io ▁moved ▁towards ▁completion , ▁Ric ord i ▁decided ▁that ▁it ▁should ▁be ▁performed ▁in ▁Tri este . ▁ ▁As ▁the ▁premi ere ▁approached , ▁both ▁libre tt ist ▁and ▁composer ▁were ▁called ▁before ▁the ▁president ▁of ▁the ▁theatre ▁commission ▁on ▁ 1 3 ▁November ,