# Rigoletto opens at La Fenice on 11 March 1851 as a completed opera after Austrian censorship of the Hugo subject

Date: 1851

## The fact

La Fenice and Britannica print 11 March 1851 as Rigoletto’s Venice premiere, Piave’s libretto after [Hugo](/people/victor-hugo), revised under Austrian police constraints. The censorship fight is a neighbouring worsening row, not a twin of the opening night.

It is one event.

## Context

Shared work with Piave, the Fenice, and censors.

[Giuseppe Verdi](/people/giuseppe-verdi)’s documented role is bounded by other offices and collaborators named in the sources below. Sharing a field with them is not a reason to drop a documented act, and it is not a reason to assign later consequences done in the name after death.

Lived 1813–1901. Impresarios, librettists, censors, khedival officers, and Ricordi share the public file. Va pensiero’s later nationalist reception is not stored as his revolutionary act. Complex contribution is required.

Named person as heading of the dated public instrument. Later editors, museums, printers, or offices share publication. Complex where later carriers are the surviving public file.

## Evidence and sources

Teatro La Fenice and Britannica independently describe the 1851 Rigoletto premiere.

Official or archival record: Teatro La Fenice — Rigoletto and Traviata heritage (https://www.teatrolafenice.it/en/; Fondazione Teatro La Fenice).

## Significance

A completed canonical opera after a censorship negotiation is still a cultural-access path. The constraint is stored separately.

## What is established and what is not

Established: 11 March 1851 premiere. Not established: unique later-box-office welfare coefficients.

What would change the picture: a contradictory original with a different date or name, or a measured series that can be argued, with lag and alternatives, as a consequence of this instrument rather than of later institutions.

The date is the date of this instrument, not a licence to back-date every later harm or benefit.

Established here: a sourced, dated public instrument with a named contribution by Giuseppe Verdi.

They are not a public rating.

Giuseppe Verdi did not file a later UNESCO form, a later Loeb colophon, or a later museum label as a personal act. A portrait or conventional bust is not this mechanism. Allegation, reconstruction, and established occurrence stay distinct. Do not merge with the 1858 Ballo censorship. Keep the carrier date of later English distinct from the received historical year stored in the date field. Do not read a later English edition as a recovered autograph of Giuseppe Verdi.

## People

- Giuseppe Verdi: https://factrail.ai/people/giuseppe-verdi

## Drivers

- Digital Learning Access: https://factrail.ai/drivers/edu-digital-learning-access

## Sources

- https://www.britannica.com/biography/Giuseppe-Verdi
- https://www.teatrolafenice.it/en/

## Methodology

https://factrail.ai/methodology

Canonical: https://factrail.ai/facts/gv-rigoletto-1851