In addition (as musicologist William Ashbrook states): "Amleto marks an effort of two prominent members of the Scapigliatura (a late Romantic reform movement in northern Italy in the 1860s and 70s) to renew the tradition of Italian opera.

However, in recent years, copies of the score and libretto have reappeared and conductor Anthony Barrese created a critical edition which was presented in a fully staged version by Opera Southwest in Albuquerque, New Mexico, and by Baltimore Concert Opera in concert form in Baltimore, Maryland, in October 2014.

Ashbrook notes that one aspect of this opera's importance lies in the fact that, "as the first of Boito's librettos derived from Shakespeare, it reveals the future poet of Otello and Falstaff collaborating with a far less experienced and gifted composer than Verdi.

[7] According to DeRensis, the work was accepted at the Carlo Felice because of the personal intervention of Boito's Conservatory professor Alberto Mazzucato, who was friends with Mariani.

The long letter was published in full in the “Giornale della Società del Quartetto” and in Franco Faccio e Verdi, DeRensis reprints the following selections":[2] Giuseppe Verdi, when he heard of the success of the opera, wrote to the librettist Francesco Maria Piave stating that, "if Faccio succeeds, I am sincerely happy; others will perhaps will not believe this; but [only] others; you know me and you know that I either keep quiet or say what I feel".

In a letter written on 27 February 1867, his friend the Countess Maffei chided him for missing the opportunity to present Amleto to the Queen of Prussia when he had the chance.

According to DeRensis, the performance was made possible for one reason: the libretto by Carré and Barbier for the opera Hamlet and written for Ambroise Thomas, was unanimously judged a profanation.

He was again joined by some of the most famous singers of the time and La Scala's conductor, Eugenio Terziani, yielded the baton to Faccio.

A second dress rehearsal was given and the La Scala Theater Commission judged Tiberini fit to sing, despite Faccio's protestations.

The principal roles were sung by Alex Richardson (Amleto), Abla Lynn Hamza (Ofelia), Caroline Worra (Geltrude), and Shannon De Vine (Claudio) with stage direction by David Bartholomew.

[17] Following a production at the 2016 Bregenz Festival, the first staging in Italy since 1871 was mounted at the Teatro Filarmonico in Faccio's home-town in October 2023, with Angelo Villari in the title role, conducted by Giuseppe Grazioli.

[18] 2 flutes (2nd doubling piccolo), 2 oboes, (2nd doubling English horn), 2 clarinets, bass clarinet), 2 bassoons; 4 horns, 2 trumpets, 2 cornets, 3 trombones, cimbasso; timpani, percussion (side drum, triangle, bass drum), tam-tam, glockenspiel; harp; strings.

Onstage: Banda, solo string quartet, harp, snare drum Scene 1 The sudden death of the king and remarriage of his mother Queen Geltrude to his uncle Claudio has depressed Prince Amleto.

Still mourning his father and in shock at his mother’s strange remarriage, Amleto refuses to take part in the coronation festivities at Elsinore Castle (Ah, si dissolva quest’abbietta carne).

The ghost appears, indicating that he wishes to speak to Amleto alone (Tu dêi sapere ch’io son l’anima lesa).

Feigning madness, Amleto demands that she renounce worldly love and enter a convent (Fatti monachella) and decries marriage.

A group of travelling singers arrives and Amleto decides to have them stage a play depicting a regicide similar to his father’s, so he can observe Claudio’s reaction.

As the play progresses, Claudio becomes increasingly agitated (Regina nel core), while Geltrude admonishes his foolish behavior.

Claudio calms him, and the two watch in horror as Ofelia enters, now insane, imagining her father’s funeral (la bara involta).

Hearing the name "Amleto", Ofelia descends deeper into her madness (Bell’alberel dolente), eventually drowning herself in a brook.

Scene 2 (only extant in the original 1865 version) A herald announces to the court that Amleto and Laerte will fence for sport (Illustri cortigiani e cavalieri).