The opera’s subject matter, the history of Inês de Castro and depicting the sordid behavior of the nobility, aroused unwanted attention from the royal censors of the King of Naples.
So, unlike Lucia di Lammermoor, another opera with a Cammarano libretto, Malvina has no real connection to Scottish culture.
The lead tenor quit before the opening, and the opera had to be hastily rewritten for an unconventional cast of soprano, coloratura contralto, baritone and bass.
Even with these challenges, Pacini created an opera so beautiful that a throng of admirers escorted the veteran composer home by torchlight after the premiere.
In Brooklyn, New York in 2016, Vertical Player Repertory[1] commissioned music editor and conductor Hans Schellevis to create a new performing edition of this intriguing opera.