Over the next two months the work was given twenty-two performances in Milan and then taken by the original company, led by Maurel, to Genoa, Rome, Venice, Trieste, Vienna and, without Maurel, to Berlin.Hepokoski, p. 56 Verdi and his wife left Milan on 2 March; Ricordi encouraged the composer to go to the planned Rome performance of 14 April, to maintain the momentum and excitement that the opera had generated. The Verdis, along with Boito and Giulio Ricordi, attended together with King Umberto I and other major royal and political figures of the day. The king introduced Verdi to the audience from the Royal Box to great acclaim, "a national recognition and apotheosis of Verdi that had never been tendered him before", notes Phillips-Matz.Phillips-Matz, pp. 717–720 thumb|Poster for the Paris première of 1894, by Adolfo Hohenstein. During these early performances Verdi made substantial changes to the score. For some of these he altered his manuscript, but for others musicologists have had to rely on the numerous full and piano scores put out by Ricordi. Further changes were made for the Paris premiere in 1894, which are also inadequately documented. Ricordi attempted to keep up with the changes, issuing new edition after new edition, but the orchestral and piano scores were often mutually contradictory. The Verdi scholar James Hepokoski considers that a definitive score of the opera is impossible, leaving companies and conductors to choose between a variety of options.Hepokoski, p. 83 In a 2013 study Philip Gossett disagrees, believing that the autograph is essentially a reliable source, augmented by contemporary Ricordi editions for the few passages that Verdi omitted to amend in his own score.
Over the next two months the work was given twenty-two performances in Milan and then taken by the original company, led by Maurel, to Genoa, Rome, Venice, Trieste, Vienna and, without Maurel, to Berlin.Hepokoski, p. 56 Verdi and his wife left Milan on 2 March; Ricordi encouraged the composer to go to the planned Rome performance of 14 April, to maintain the momentum and excitement that the opera had generated. The Verdis, along with Boito and Giulio Ricordi, attended together with King Umberto I and other major royal and political figures of the day. The king introduced Verdi to the audience from the Royal Box to great acclaim, "a national recognition and apotheosis of Verdi that had never been tendered him before", notes Phillips-Matz.Phillips-Matz, pp. 717–720 thumb|Poster for the Paris première of 1894, by Adolfo Hohenstein. During these early performances Verdi made substantial changes to the score. For some of these he altered his manuscript, but for others musicologists have had to rely on? the numerous full and piano scores put out by Ricordi. Further changes were made for the Paris premiere in 1894, which are also inadequately documented. Ricordi attempted to keep up with the changes, issuing new edition after new edition, but the orchestral and piano scores were often mutually contradictory. The Verdi scholar James Hepokoski considers that a definitive score of the opera is impossible, leaving companies and conductors to choose between a variety of options.Hepokoski, p. 83 In a 2013 study Philip Gossett disagrees, believing that the autograph is essentially a reliable source, augmented by contemporary Ricordi editions for the few passages that Verdi omitted to amend in his own score.