Giuseppe Verdi's first French opera, Jérusalem (1847), has often been described as a French version of his fourth opera, I lombardi alla prima crociata (1843). It is hardly a straightforward translation, however; the process of adapting the source to the French stage involved substantial rewriting of the libretto, thoroughly recasting the storyline and therefore requiring numerous changes in the music. Thus, Verdi not only provided several entirely new sections for the score of Jérusalem, but also reused material from I lombardi in radically different dramatic settings. The purpose of this article is to review changing attitudes toward Jérusalem through the twentieth century, and to assert that it may be perceived both as a reworking of the earlier opera and as a new work in which Verdi, under unique circumstances, deployed strategies of self-borrowing. The first part addresses the historiography of Jérusalem, tracing changing attitudes of commentators gradually recognizing the importance and worth of the French work, and the second part examines in detail the transfer of selected passages that Verdi borrowed from I lombardi and adapted to vastly changed contexts.

中文翻译：

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朱塞佩·威尔第 (Giuseppe Verdi) 的改编与自我借用之间的耶路撒冷

朱塞佩·威尔第的第一部法国歌剧，耶路撒冷（1847 年），经常被描述为他的第四部歌剧的法国版，I lombardi alla prima crociata（1843 年）。然而，这并不是一个直截了当的翻译。将源改编为法国舞台的过程涉及大量改写剧本，彻底重写故事情节，因此需要对音乐进行大量修改。因此，威尔第不仅为乐谱提供了几个全新的部分耶路撒冷，而且还重复使用了材料我伦巴第在完全不同的戏剧环境中。这篇文章的目的是回顾对耶路撒冷整个二十世纪，并断言它既可以被视为对早期歌剧的改造，也可以被视为威尔第在独特情况下采用自我借用策略的新作品。第一部分论述了史学耶路撒冷, 追溯评论家逐渐认识到法国作品的重要性和价值的态度变化，第二部分详细考察了威尔第从中借用的选定段落的转移我伦巴第并适应了巨大变化的环境。