Even though I masnadieri isn’t one of Verdi’s most popular operas, it has some truly beautiful music – especially its haunting, melancholic overture, which perfectly sets the mood for the story. Verdi himself wasn’t happy with the text, or libretto, written by Andrea Maffei and based on Schiller’s Die Räuber. He thought it was too wordy and not dramatic enough for the stage. Still, the text stayed as it was, partly because the premiere in London was rushed, and partly because Verdi and Maffei were close friends. The ending can feel strange: after all the dark events, the opera closes with a bright, major chord that feels out of place given the tragic story. In this article, I look at five standout recordings of I masnadieri. They’re listed in no particular order, and each brings something unique to Verdi’s passionate, often overlooked score.

Wolfgang Gönnenwein / Orchester der Ludwigsburger Festspiele (Bayer Records)

This 1992 recording from the Ludwigsburg Festival, conducted by Wolfgang Gönnenwein, is a hidden gem simply because recordings of this opera are so rare. It’s not the most intense version, but it’s solid. Mario Malagnini sings Carlo with a strong, full sound, while Martile Rowland is clear and controlled as Amalia. Renato Bruson, an experienced Verdi baritone, gives a powerful performance as Francesco.

Franco Mannino / Orchestra Sinfonica Nazionale della RAI (Myto)

Recorded in 1971, this live broadcast has a gripping interpretation, even if the sound isn’t the best. Gastone Limarilli doesn’t have a naturally dramatic tenor voice, but he sings Carlo with skill and subtlety. Rita Talarico brings plenty of emotion to Amalia. However, Bonaldo Giaiotti’s Francesco doesn’t quite have the dark, menacing quality the role needs.

Gianandrea Gavazzeni / Orchestra del Teatro dell’Opera di Roma (Opera d’Oro)

This exciting 1972 live recording, led by the great Verdi conductor Gianandrea Gavazzeni, shows the Rome Opera Orchestra at its best. Gianni Raimondi is brilliant and confident as Carlo, and Renato Bruson tops his earlier performance by adding even more depth to Francesco. Ilva Ligabue is a standout as Amalia, singing with passion and power. The whole performance is full of energy and drama, a real testament to Gavazzeni’s understanding of Verdi’s music.

Richard Bonynge / The Welsh National Opera Orchestra (Decca)

This 1982 studio recording, conducted by Richard Bonynge, is full of life. The cast includes big names: Joan Sutherland as Amalia, Franco Bonisolli as Carlo, and Matteo Manuguerra as Francesco. Bonynge keeps the music moving with bright, clear conducting. Sutherland, though past her peak, still sounds good; Manuguerra is solid if not especially scary as Francesco; but it’s Bonisolli who steals the show with his fiery, bold Carlo.

Lamberto Gardelli / New Philharmonia Orchestra (Decca)

Verdi expert Lamberto Gardelli gives a powerful, sensitive reading of the opera in this 1975 studio recording. He brings out the intensity of the music beautifully. Montserrat Caballé is stunning as Amalia, with her bright voice and flawless soft high notes. Pietro Cappuccilli is compelling as Francesco, singing with authority and urgency, especially in his two big Act IV arias. Carlo Bergonzi’s Carlo is elegant and emotional, offering a more thoughtful, nuanced interpretation compared to Bonisolli’s fiery style.

Bonus

There’s also a noteworthy live performance from 1963 at the Teatro del Maggio Musicale Fiorentino, conducted by Gavazzeni, with strong performances by Gastone Limarilli, Margherita Roberti, and Mario Zanasi. While the full recording hasn’t been released, you can find highlights on NAR Classics – and they’re definitely worth a listen.