After the premiere, Amleto lay dormant for nearly six years while its authors embarked on a number of musical and extra-musical adventures.
It was also during these years that Faccio began conducting, which would prove to be his true calling.

However, Amleto was never far from his thoughts, and his friends and family continued to urge him to seek another production.
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.

The long-awaited revival was eventually scheduled for the 1870/71 season at La Scala.
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.
For the La Scala production Mario Tiberini returned to interpret the role of Amleto.
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.

According to DeRensis the rehearsals began smoothly and the dress rehearsal was set for 16 January 1871.
The very next day, Tiberini got sick and the opera was postponed for more than 2 weeks.
Eventually rehearsals began again, and Tiberini got sick again.
A second dress rehearsal was given and the La Scala Theater Commission judged Tiberini fit to sing, despite Faccio's protestations.
12 February saw the opening night, and what was to be the last performance of Amleto.
Despite good intentions, Tiberini was completely voiceless that night.

As Barrese notes: "DeRensis writes that the performance was uncertain and disorganized, and describes it as follows":
Tiberini, completely voiceless and disoriented, did not emit one note with the accent of that great artist that he was, he lowered the pitches, and did away with entire phrases.
He, and with much visible anguish, rendered comprehension of the opera impossible.
Faccio directed, apparently calm but in reality very disturbed.
Some ensemble pieces like the dance and brindisi [act 1, Scene i], the Violoncello prelude [Act 1, sc.ii], the Spettro’s Racconto [act 1, scene ii], the Pater noster [act 3, scene i] – which procured Bertolasi two curtain calls – the third act trio, the fourth act funeral march (welcomed with roaring applause and two curtain calls for the composer), saved the production from a shipwreck.

After the performance, Faccio, so disturbed by this fiasco, immediately withdrew the piece, and refused to have it performed again.
Although Amleto was never produced again in his lifetime, his student (and later composer himself), Antonio Smareglia, noted that it was always very dear to his heart.
After the premiere, Amleto lay dormant for nearly six years while its authors embarked on a number of musical and extra-musical adventures. It was also during these years that Faccio began conducting, which would prove to be his true calling.
However, Amleto was never far from his thoughts, and his friends and family continued to urge him to seek another production. 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.
The long-awaited revival was eventually scheduled for the 1870/71 season at La Scala. 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. For the La Scala production Mario Tiberini returned to interpret the role of Amleto. 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.
According to DeRensis the rehearsals began smoothly and the dress rehearsal was set for 16 January 1871. The very next day, Tiberini got sick and the opera was postponed for more than 2 weeks. Eventually rehearsals began again, and Tiberini got sick again. A second dress rehearsal was given and the La Scala Theater Commission judged Tiberini fit to sing, despite Faccio's protestations. 12 February saw the opening night, and what was to be the last performance of Amleto. Despite good intentions, Tiberini was completely voiceless that night.
As Barrese notes: "DeRensis writes that the performance was uncertain and disorganized, and describes it as follows":
Tiberini, completely voiceless and disoriented, did not emit one note with the accent of that great artist that he was, he lowered the pitches, and did away with entire phrases. He, and with much visible anguish, rendered comprehension of the opera impossible. Faccio directed, apparently calm but in reality very disturbed. Some ensemble pieces like the dance and brindisi [act 1, Scene i], the Violoncello prelude [Act 1, sc.ii], the Spettro’s Racconto [act 1, scene ii], the Pater noster [act 3, scene i] – which procured Bertolasi two curtain calls – the third act trio, the fourth act funeral march (welcomed with roaring applause and two curtain calls for the composer), saved the production from a shipwreck.
After the performance, Faccio, so disturbed by this fiasco, immediately withdrew the piece, and refused to have it performed again. Although Amleto was never produced again in his lifetime, his student (and later composer himself), Antonio Smareglia, noted that it was always very dear to his heart.
Amleto