Editing Vincenzo Bellini (section)

==Major achievements==
After the poor response in Parma to ''Zaira'', Bellini stayed with Ferdinando and Giuditta Turina's family for a short period in May/June and then returned to Milan by the end of June and discovered that his grandfather, then 85, had died in Catania. No contract for another opera in sight, except for the possibility of working with the [[Teatro La Fenice]] in Venice. As is revealed by Herbert Weinstock, there is limited knowledge of what happened to Bellini between June 1833 and February 1834, since no letters to Florimo from that period have survived, and the only sources are those letters sent to others.{{sfn|Weinstock|1971|p=78}}

[[Giovanni Pacini]], another Catanese composer, was still in Milan in late June after the well-received premiere on 10 June of his opera ''Il Talismano'' at La Scala, where it went on to receive a total of 16 performances. To Bellini, he appeared to be a rival,<ref name=WEIN79>{{harvnb|Weinstock|1971|pp=79–82}}</ref> and with his recent success, Pacini received offers to compose an opera for both Turin and Venice for the Carnival season. He accepted both offers, but the La Fenice impresario included a proviso that if he were to be unable to fulfill the Venice contract, then it would be transferred to Bellini.

Bellini then became preoccupied with staging a revival of his ''Il pirata'' during the summer season at the Teatro Canobbiana because La Scala was closed for repairs. ''Il Pirata'' was staged with the original cast and again was a triumph: it received 24 consecutive performances between 16 July and 23 August 1829, thus outnumbering Pacini's.<ref name=WEIN79/>

During July and August, the composer [[Gioachino Rossini]] visited Milan on his way to Bologna. He saw the ''Il Pirata'' production and met Bellini; the two men were taken with each other, to the extent that when the younger composer was in Paris a year or two later, he developed a very strong bond with Rossini.<ref>Bellini to his uncle, Vincenzo Ferlito, 28 August 1829, in {{harvnb|Weinstock|1971|pp=80–81}}</ref>

A firm offer of a contract for a new opera for Venice appeared in the autumn, a contract which also included a provision that ''Il pirata'' would be given during the Carnival 1830 season. Tearing himself away from dalliances with Mrs. Turina, by mid-December Bellini was in Venice where [[Giuseppe Persiani]]'s ''Constantino in Arles'' was in rehearsal with the same singers who were to perform in ''Pirata'': they were Giuditta Grisi, the tenor Lorenzo Bonfigli, and Giulio Pellegrini.

===''I Capuleti e i Montecchi'': Venice, March 1830===
[[File:Maria Malibran as Bellini's Romeo-1832.jpg|thumb|[[Maria Malibran]] as Romeo-Bologna, 1832]]
With rehearsals for ''Pirata'' underway in late December, Bellini was given notice by the La Fenice impresario, Alessandro Lanari, that it was doubtful whether Pacini would be present in time to stage an opera and that a contract was to be prepared with the proviso that it would only become effective on 14 January. Accepting the offer 5 January, Bellini stated that he would set Romani's libretto for ''Giulietta Capellio'', that he required 45 days between receipt of the libretto and the first performance, and that he would accept 325 napoleoni d'oro (about 8,000 lire).<ref>Bellini to Lanari, 5 January 1830, in {{harvnb|Weinstock|1971|p=83}}: Weinstock notes that Romani had used "Capellio" as Juliet's last name in the libretto.</ref>

The tentative contract deadline was extended until 20 January, but by that date Romani was in Venice, having already re-worked much of his earlier libretto which he had written for [[Nicola Vaccai]]'s 1825 opera, ''[[Giulietta e Romeo (Vaccai)|Giulietta e Romeo]]'', the source for which was the play of the same name by [[Luigi Scevola]] which had been written in 1818. The two men set to work, but with the winter weather in Venice becoming increasingly bad, Bellini fell ill; however, he had to continue to work under great pressure within a now-limited timetable. Eventually, revisions to Romani's libretto were agreed to, a new title was given to the work, and Bellini reviewed his score of ''Zaira'' to see how some of the music could be set to the new text, but composing the part of Romeo for Grisi. He also took Giulietta's "''Oh quante volte''" and Nelly's ''romanza'' from ''Adelson e Salvini''. The Giulietta was to be sung by [[Rosalbina Caradori-Allan]].

At the premiere of ''[[I Capuleti e i Montecchi]]'' on 11 March 1830 success for Bellini returned. Weinstock describes the premiere as "an unclouded and immediate success"<ref name=WEIN85/> but it was only able to be performed eight times before the La Fenice season closed on 21 March.<ref name=WEIN85>{{harvnb|Weinstock|1971|p=85}}</ref> A local newspaper, ''I Teatri'', reported that "all things considered, this opera by Bellini has aroused as much enthusiasm in Venice as ''La straniera'' aroused in Milan from the first evening on".<ref>{{harvnb|Cambi|1943}} in {{harvnb|Weinstock|1971|p=85}}</ref>

By this time, Bellini knew that he had achieved a degree of fame: writing on 28 March, he stated that "My style is now heard in the most important theatres in the world&nbsp;... and with the greatest enthusiasm."<ref>Bellini, quoted by {{harvnb|Lippmann|McGuire|1998|p=390}}</ref>

Before leaving Venice, Bellini was offered a contract to produce another new opera for La Fenice for the 1830–31 Carnival season, and—upon his return to Milan after a reunion with Turina—he also found an offer from Genoa for a new opera but proposed for the same time period, an offer he was forced to reject.

Later that year, Bellini prepared a version of ''Capuleti'' for La Scala which was given on 26 December, lowering Giulietta's part for the mezzo-soprano [[Amalia Schütz Oldosi]].

===''La sonnambula'': Milan, March 1831===
[[File:Millet-Bellini.jpg|thumb|Portrait of Bellini by<br>[[Jean-François Millet]]]]
Returning to Milan after the ''Capuleti'' performances, little occurred until the latter part of April when changes began to appear in the management of La Scala. The organisation, "Crivelli and Company" which had managed both that house as well as La Fenice, was negotiating with a triumvirate consisting of Count [[Pompeo Litta Biumi|Pompeo Litta]] and two businessmen, their immediate concern being the engagement of singers and composers for La Scala. In order to contract with Bellini, he had to be released from his obligation to Venice; this was achieved by Litta buying out the Venice contract. When Bellini laid out his terms for writing for Milan, Litta gave him a very favourable response: "I shall earn almost twice as much as if I had composed for Crivelli [then the Venetian impresario]" he noted in a letter to his uncle.<ref>Bellini to Vincenzo Ferlito, April 1830, in {{harvnb|Weinstock|1971|pp=87–88}}</ref>

However, the group led by Duke Litta failed to come to terms with the Crivelli-Lanari-Barbaja group which continued to manage both La Scala and La Fenice. As a result, in the April–May 1830 period, Bellini was able to negotiate a contract with both the Litta group—which was planning performances in a smaller Milan house, the [[Teatro Carcano]]—and with the Crivelli group to obtain a contract for an opera for the autumn of 1831 and another for the 1832 Carnival season. These were to become ''Norma'' for La Scala and ''Beatrice di Tenda'' for La Fenice.{{sfn|Weinstock|1971|p=89}}

Bellini then experienced the re-occurrence of an illness which had emerged in Venice due to pressure of work and the bad weather, but which consistently recurred after each opera and which would eventually cause his death. The gastro-enteric condition—which he describes as "a tremendous inflammatory gastric bilious fever"—<ref name=WEIN88>Bellini to Vincenzo Ferlito [his uncle], late May/early June 1830, in {{harvnb|Weinstock|1971|p=88}}</ref> resulted in his being cared for by Francesco Pollini and his wife at their home because, as Bellini wrote, "he loves me more than a son".<ref name=WEIN88/>

Having recovered from his illness by the summer, Bellini went to stay near Lake Como. The need to decide on the subject for the following winter's opera became pressing, although it had already been agreed that [[Giuditta Pasta]], who had achieved success in the Teatro Carcano in 1829 and 1830 with in several major operas, would be the principal artist. That she owned a house near Como and would be staying there over the summer was the reason that Romani traveled to meet her and Bellini.

====Attempts to create ''Ernani''====
By 15 July they had decided on an adaptation of [[Victor Hugo]]'s play, ''[[Hernani (drama)|Hernani]]'', although Weinstock speculates as to how this decision could have come about. The play's political subject matter would have been known to the group and they would certainly know of the strict censorship then in existence in Austrian-controlled Lombardy. In addition, it was uncertain as to whether Pasta was interested in singing a [[trousers role]], that of the protagonist, Ernani. While it seems that all three were in agreement, no further progress was made. Romani, who promised to begin the ''Ernani'' libretto immediately, went off to write one for what became Donizetti's ''[[Anna Bolena]]'' (which opened the Carcano's season in December 1830). Rather than resting, Bellini immediately set off for Bergamo to stage ''La straniera'', then went back to the mountains. But, by the end of November, nothing had been achieved in the way of writing either the libretto or the score of ''Ernani''.{{sfn|Weinstock|1971|pp=93–94}}

On 3 January 1831, a letter from Bellini stated: "...&nbsp;I am no longer composing ''Ernani'' because the subject would have had to undergo some modifications at the hands of the police.&nbsp;... [Romani] is now writing ''La sonnambula, ossia I Due Fidanzati Svizzeri''.&nbsp;... It must go on stage on 20 February at the latest."<ref>Bellini to his Venetian friend Giovanni Battista Peruchinni, 3 January 1831, in {{harvnb|Weinstock|1971|p=94}}</ref>

====''La sonnambula'' replaces ''Ernani''====
Romani's libretto for ''[[La sonnambula]]'' was based on a ''ballet-pantomime'' by [[Eugène Scribe]] and [[Jean-Pierre Aumer]] called ''[[La somnambule, ou L'arrivée d'un nouveau seigneur]]''. With its [[pastoral]] setting and story, ''La sonnambula'' was to become another triumphant success during Bellini's five years in Milan.

The title role of Amina (the [[Sleepwalking|sleepwalker]]) with its high [[tessitura]] is renowned for its difficulty, requiring a complete command of [[Trill (music)|trills]] and florid technique.{{sfn|Eaton|1974|p=135}} It was written for Pasta who has been described as a ''[[soprano sfogato]]''.
 {{multiple image
 | width1 = 171
 | image1 = La Malibran (Maria) par F. Bouchot.jpg
 | caption1 = Soprano sfogato Maria Malibran sang Amina in 1834
 | width2 = 222
 | image2 = La-Sonnambula-Alessandro-Sanquirico-2.jpg
 | caption2 = [[Alessandro Sanquirico]]'s set design for the act. 2 sc. 2 sleepwalking scene for the premiere production
 }}
That music which he was beginning to use for ''Ernani'' was transferred to ''La Sonnambula'' is not in doubt, and as Weinstein comments, "he was as ready as most other composers of his era to reuse in a new situation musical passages created for a different, earlier one".{{sfn|Weinstock|1971|p=94}}

The opera's premiere performance took place on 6 March 1831, a little later than the original date, at the Teatro Carcano. Its success was partly due to the differences between Romani's earlier libretti and this one, as well as "the accumulation of operatic experience which both [Bellini] and Romani had brought to its creation."{{sfn|Weinstock|1971|p=95}} Press reactions were universally positive, as was that of the Russian composer, [[Mikhail Glinka]], who attended and wrote overwhelmingly enthusiastically:
<blockquote>Pasta and Rubini sang with the most evident enthusiasm to support their favourite conductor [''sic'']; the second act the singers themselves wept and carried the audience along with them.<ref>Glinka, ''Memoires'', in {{harvnb|Weinstock|1971|p=97}}</ref></blockquote>

After its premiere, the opera was performed in London on 28 July 1831 at the [[Her Majesty's Theatre|King's Theatre]] and in New York on 13 November 1835 at the [[Park Theatre (Manhattan)|Park Theatre]].{{sfn|Kimbell|2001|p=50}}

During Bellini's lifetime, mezzo/contralto [[Maria Malibran]], a daughter of Manuel Garcia and renowned Rosina, made her own version of Amina and was a notable exponent of the role.

===''Norma'': Milan, December 1831===
[[File:Norma-Bellini-original-1831-cast.jpg|thumb|''Norma'': Donzelli, Grisi, and Pasta, the original cast]]
{{listen|type=music
|title="Casta Diva" from ''Norma''
|filename=Bellini Casta diva par Claudia Muzio.ogg
|description=[[Claudia Muzio]], circa 1936
}}
With ''La sonnambula'' successfully behind them, Bellini and Romani began to consider the subject of the opera for which they had been contracted by the Crivelli group for a December 1831 premiere at La Scala and which would mark Giuditta Pasta's debut at that house. By the summer, they had decided upon ''[[Norma (opera)|Norma, ossia L'Infanticidio]]'' which was based on the play of the same name, ''Norma, or The [[Infanticide]]'' by [[Alexandre Soumet]] which was being performed in Paris at around that time and which Pasta would have seen.

For the roles of Adalgisa and Pollione, La Scala had engaged [[Giulia Grisi]], the sister of Giuditta, and the well-known tenor [[Domenico Donzelli]], who had made a name for himself with Rossini roles, especially that of Otello. He provided Bellini with precise details of his vocal capabilities which were confirmed by a report which Mercadante also provided. By the end of August it appears that Romani had completed a considerable amount of the libretto, enough at least to allow Bellini to begin work, which he certainly did in the first weeks of September as the verses were supplied.{{sfn|Weinstock|1971|p=100}} He reported in a letter to Pasta on 1 September:
<blockquote>I hope that you will find this subject to your liking. Romani believes it to be very effective, and precisely because of the all-inclusive character for you, which is that of Norma. He will manipulate the situations so that they will not resemble other subjects at all, and he will retouch, even change, the characters to produce more effect, if need be.<ref>Bellini to Pasta, 1 September 1831, in {{harvnb|Weinstock|1971|p=100}}</ref></blockquote>
Pasta's vocal and dramatic ranges were extensive: that March, she had created the very different Bellini role of Amina, the Swiss village maiden, in ''La sonnambula''.

As the year progressed, several things appeared which began to disturb the composer. Firstly, an outbreak of cholera had occurred in Austria in July, and concern about its spread to Italy was real, to the point that, by late September, Bellini was writing to Florimo: "I am composing the opera without any real zeal because I am almost certain that the cholera will arrive in time to close the theatres; but as soon it threatens to come near, I'll leave Milan."<ref name=WEIN101>Bellini to Florimo, 27(?) September 1831, in {{harvnb|Weinstock|1971|p=101}}</ref>

About this time he had received an offer to compose for the [[Teatro di San Carlo]] in Naples and, in return, had imposed some harsh terms, totally objecting to the English soprano Marianna Lewis, "a donna who is below mediocrity: does not know how to sing, is a sausage on stage&nbsp;..."<ref name=WEIN101/> He continues by stressing the need for a good tenor were he to come to Naples and, in a separate letter to be forwarded by Florimo, tells Principe di Ruffano, then the superintendent of the royal theatres, that he doubts that Barbaja would even agree to the fee already offered to him by La Scala, a total of 2,400 ducati, when he would want 3,000 ducati from Naples for all the additional expenses which he would incur.<ref name=RUFF>Bellini to Count di Ruffano, 19 September 1831, in {{harvnb|Weinstock|1971|p=102}}</ref> In a post script, Bellini adds an indignant objection to what he has heard about the proposed casting of ''Capuleti'' in Naples. It is clear that he regards Barbaja as an enemy.<ref name=RUFF/>

''Norma'' was completed by about the end of November. Bellini then had to deal with the issue of piracy in regard to vocal reductions for piano of ''La sonnambula'' as published by [[Casa Ricordi]]. These scores were then fully orchestrated and sold to unsuspecting opera houses as full orchestral scores. This illegal action caused Bellini to publish a notice in major Italian newspapers putting such "pirates" on notice, but Weinstock comments that such attempts to control were not likely to succeed until Italian unification provided laws applicable to the country as a whole.<ref name="Weinstock 1971, p. 104">{{harvnb|Weinstock|1971|p=104}}</ref>

After rehearsals began on 5 December, Pasta baulked at singing the ''Casta diva'' in act 1, now one of the most famous [[aria]]s of the nineteenth century. She felt that it was "ill adapted to her vocal abilities",<ref>Sherillo, in {{harvnb|Weinstock|1971|p=104}}</ref> but Bellini was able to persuade her to keep trying for a week, after which she adapted to it and confessed her earlier error.<ref name="Weinstock 1971, p. 104"/> At the opening night, the opera was received with what Weinstock describes as "chill indifference".{{sfn|Weinstock|1971|p=105}} To Florimo on the night of the premiere, Bellini wrote "Fiasco! Fiasco! Solemn fiasco!" and proceed to tell him of the indifference of the audience and how it affected him.<ref>Bellini to Florimo, 26 December 1831, in {{harvnb|Weinstock|1971|p=105}}</ref>

In addition, in a letter to his uncle on 28 December, Bellini tries to explain the reasons for the reactions. As other commentators have also noted, some problems were innate to the structure and content of the opera, while others were external to it. Bellini discusses the tiredness of the singers (after rehearing the entire second on the day of the premiere) as well as noting how certain numbers failed to please—and failed to please the composer as well! But then he explains that most of the second act was very effective. It appears from the letter that the second evening's performance was more successful. Among the external reasons, Bellini cites the adverse reaction caused by the attitudes of both the owner of a journal (and his [[claque]]) and also of "a very rich woman"—who Weinstock identifies as Contessa Giulia Samoyloff— who was Pacini's mistress. He also notes that on this second evening, the theatre was full.<ref>Bellini to Vincenzo Ferlito, 28 December 1831, in {{harvnb|Weinstock|1971|p=106}}</ref>

In all, ''Norma'' was given 39 performances in its first season at La Scala, and reports from elsewhere, especially those from Bergamo when performances were given there in late 1832, suggested that it was becoming more and more popular. Bellini left Milan for Naples, and then Sicily, on 5 January 1832, but for the first time since 1827, it was a year in which he did not write an opera.{{sfn|Weinstock|1971|pp=107–108}}

===Naples, Sicily, Bergamo: January to September 1832===
[[File:Theater Vittorio Emanuelle before 1908.jpg|thumb|Teatro della Munizione, Messina (as known in the early 19th century)]]
Bellini traveled to Naples, although he may have stopped in Rome to see Giuditta Turina and her brother Gaetano Cantù. However, the sister and brother also went to Naples where Giuditta was finally able to meet Florimo and see the city in which Bellini had triumphed. Within six days, Bellini was in Naples where he remained for six weeks.

During that time he remained busy, spending some time with Turina (who was ill for part of it), visiting the conservatory and meeting with many of the students and his old teacher, [[Niccolò Antonio Zingarelli|Zingarelli]] (to whom he had dedicated ''Norma''),{{sfn|Galatopoulos|2002|p=248}} and attending a performance of ''Capuleti'' at the San Carlo with Turina and Florimo on 5 February in the presence of King Ferdinand II. The King led the applause for the composer, resulting in his being called to the stage and thus enjoying a very warm welcome from the people of Naples.<ref>Report in the ''Giornali delle Due Sicilie'', 7 February 1832</ref>

Planning to leave Naples by 25 February, he dealt with the invitation from Lanari at La Fenice to compose for that house by stating that he would not work for less than the sum received from the last production, and that he was also in discussions with the San Carlo. Arriving in Messina along with Florimo on the morning of 27 February, Bellini was greeted by several members of his family including his father. They remained in Messina for two days, attending a performance of ''Il pirata'' at the Teatro della Munizione, where he was greeted with "loud shouts of pleasure, hand-clapping, and words of praise".<ref>''L'Osservatore peloritano'', 27 February 1832, in {{harvnb|Weinstock|1971|pp=113–114}}</ref>

Bellini arrived in Catania on 3 March to a civic welcome. He was greeted by the city's authorities and citizens who also feted him at a concert the following evening. This included excerpts from ''La sonnambula'' and ''Il pirata'' at the Teatro Communale, now replaced by the [[Teatro Massimo Bellini]] which was opened in 1890 and named in Bellini's honour.<ref name=GALLA252>{{harvnb|Galatopoulos|2002|pp=252–255}}</ref> After a month, Bellini and Florimo left for Palermo where, once again, there was a "royal welcome" and where he made the acquaintance of Filippo Santocanale and his wife. Although weather delayed their departure for Naples, they continued to spend an enjoyable time there, but Bellini was anxious to return to Naples before Easter and to be with Giuditta Turina, who had remained in that city.<ref name=GALLA252/> They reached Naples on 25 April where he was reunited with Turina.

Upon his arrival, Bellini wrote to his new friend Santocanale in Palermo, telling him that he would be accepting a contract from La Fenice<ref>Bellini to Santocanale, 28 April 1832, in {{harvnb|Weinstock|1971|p=118}}</ref> so the issue had resurfaced in the form of a contract from Lanari which appeared to have accepted the composer's terms. But he had forgotten how much he had demanded: writing to Giuditta Pasta's husband, Giuseppe, he asked for the letter he had written to him (in which he had revealed the terms offered) to be sent to him to await his arrival in Florence.<ref>Bellini to Giuseppe Pasta, 28 April 1828, in {{harvnb|Weinstock|1971|p=118}}</ref>
[[File:Teatro della Pergola.JPG|thumb|right|Foyer of the Teatro della Pergola, after redecoration in the 1850s]]
When returning to Naples, the couple reached Rome on 30 April. There is speculation that, when there, Bellini composed a one-act opera, ''Il fu ed il sarà'' (''The Past and the Present'') for a private performance (which was supposedly not given until 1832), but little further information—nor any of the music—has been forthcoming.{{sfn|Galatopoulos|2002|pp=254–255}} It appears that the couple (along with Giuditta's brother) left for Florence on or around 20 May traveling by private coach and that he attended what he described as "a quite unrecognisable" performance of ''La sonnumbula'' at the [[Teatro della Pergola]]. In the same letter, Bellini informed his publisher that: "I have arranged the contract with Lanari to compose the opera for Venice; there I'll have the divine Pasta, and on the same terms as the contract with La Scala for ''Norma''".<ref>Bellini to Ricordi, 24 May 1832, in {{harvnb|Galatopoulos|2002|p=256}}</ref> He continues by stating that, in addition, he will receive one hundred per cent of the rental rights of the scores.

Within a few days, Bellini was in Milan, from there writing to his friend Santocanale in Palermo that "I'm&nbsp;... trying to find a good subject for my new opera for Venice. In August, I shall go to Bergamo for the production of my ''Norma'' with Pasta."<ref name=NORM-BOL>Bellini to Santocanale, 1 July 1832, {{harvnb|Galatopoulos|2002|pp=256–257}}</ref> From Bergamo, he wrote to Romani, excited to tell him that:
<blockquote>Our ''Norma'' is decidedly a great success. If you heard how it's performed in Bergamo, you'd almost think that it was a new work&nbsp;... [Pasta] even moves me. In fact, I wept [with] the emotions I felt in my soul. I wanted you near me so that I could have these emotions with you, my good advisor and collaborator, because you alone understand me. My glory is intrinsic to yours.<ref>Bellini to Ricordi, 2 August 1832, in {{harvnb|Galatopoulos|2002|pp=256–257}}</ref></blockquote>

After the successful production in Bergamo, which was favourably reviewed by the same writer from the ''Gazzetta privilegiata di Milano'' who was not enthusiastic about the original Milan production, Bellini spent a few days with Turina, and then, by mid-September, had returned to Milan anxious to meet Romani to decide on the subject for the following February's opera for La Fenice for which a contract had become official. In addition, it had been agreed that the new opera would be preceded by performances of ''Norma'' and that they would open the season.

===''Beatrice di Tenda'': Venice 1833===
[[File:Giuditta Pasta.jpg|thumb|[[Giuditta Pasta]] sang Beatrice]]

''[[Beatrice di Tenda]]'', with the leading role requiring a strong female character to be written for Pasta, composer and librettist met to consider a subject. Much of the initial work fell upon Romani, who had to look at a number of possible sources, and he became irritated by the task, finally hoping that a shipment of books from Paris would reveal a suitable one. It appears that by 6 October, a subject had been agreed upon: it would be ''Cristina regina di Svenzia'' from a play by [[Alexandre Dumas]] which had appeared in Paris in 1830. However, by one month later, Bellini was writing to Pasta to state that: "The subject has been changed, and we'll write ''Beatrice di Tenda'' [after the play of the same name by Carlo Tedaldi-Fores.] I had a hard time persuading Romani, but persuade him I did, and with good reasons. Knowing that the subject pleases you, as you told me the evening when you saw the ballet [in September 1832 in Milan when it accompanied a Mercadante opera]&nbsp;... He is a man of good will, and I want him to show it also in wanting to prepare at least the first act for me swiftly."<ref>Bellini to Pasta, 3 November 1832, in {{harvnb|Weinstock|1971|p=125}}</ref>

Bellini's expectation that Romani's good will would be demonstrated promptly, turned out to be a mistake. The librettist had vastly over-committed himself: by the time that ''Cristina'' became ''Beatrice'', he had made commitments to Mercadante for an October opera; also to [[Carlo Coccia]] for an opera for La Scala on 14 February 1833; and further, to Luigi Majocchi for a Parma production on 26 February; to Mercadante for La Scala on 10 March; and to Donizetti for Florence on 17 March.{{sfn|Weinstock|1971|pp=125–126}} Nothing happened in November; Bellini announced that he would arrive in Venice in early December and after 10th, he became preoccupied with rehearsals for ''Norma''. However, the lack of any verses—for an opera which was supposed to be staged in the second half of February—caused him to have to take action against Romani. This involved a complaint lodged with the governor of Venice who then contacted the governor of Milan, who then had his police contact Romani. The librettist finally arrived in Venice on 1 January 1833. He holed up to write Bellini's libretto, but, at the same time, Donizetti was equally incensed at delays in receiving a libretto from Romani for an opera which was to be ''[[Parisina (Donizetti)|Parisina]]''.

When ''Norma'' opened on 26 December, it was a success but only because of Pasta. The Adalgisa of Anna Del Serre and the Pollione of Alberico Curioni were mediocre; Bellini feared for how ''Beatrice'' would turn out. Writing to Santocanale on 12 January, Bellini was in despair, complaining of the short time to write his opera because "Whose fault is that? that of my usual and original poet, the God of Sloth!"<ref>Bellini to Santocanale, 12 January 1833, in {{harvnb|Weinstock|1971|p=128}}</ref> Their relationship quickly began to deteriorate: greetings including ''tu'' (the informal "you") gave way to ''voi'' (the formal "you") and they lived in different parts of Venice. However, by 14 February, Bellini was reporting that he had only "another three pieces of the opera to do" and that "I hope to go onstage here on 6 March if I am able to finish the opera and prepare it."<ref>Bellini to Vincenzo Ferlito, 14 February 1833, in {{harvnb|Weinstock|1971|pp=128–129}}</ref>

As it turned out, Bellini was only able to prepare the opera for rehearsals by deleting sections of the libretto as well as some of the music for the finale. To create more time for Bellini to finish, at La Fenice Lanari padded the programme with older works or revivals, but that allowed only eight days for ''Beatrice'' before the scheduled end of the season. Not surprisingly, the audience greeted the opening night on 16 March with little enthusiasm, especially after Romani's plea for "the reader's full indulgence" appeared in the libretto,<ref>Romani's apology in the printed libretto, quoted in {{harvnb|Weinstock|1971|p=129}}</ref> but at the following two performances there was a large crowd. For Bellini, his opera "was not unworthy of her sisters".<ref>quoted in {{harvnb|Weinstock|1971|pp=130–131}}, but its authenticity is suspect.</ref>

===The break with Romani===
[[File:Felice Romani.jpg|thumb|Librettist Felice Romani]]
There then began what Herbert Weinstock describes in over twelve pages of text, which include the long letters written by both sides in the dispute:
<blockquote>The journalistic storm over ''Beatrice di Tenda'' was about to evolve into the bitterest, most convoluted, and—at our distance from it—most amusing polemic in the annals of early nineteenth-century Italian opera.<ref name=WEIN131>{{harvnb|Weinstock|1971|pp=131–142}}</ref></blockquote>
Three days before the premiere, the Venetian daily, the ''Gazzetta privilegiata di Venezia'', had published a letter purportedly written to its editor by 'A.B.' of Fonzaso, in Weinstein's view most certainly fabricated by Tommaso Locatelli, the musically sophisticated man who edited the paper. In the letter, he complained about the delay in the production of ''Beatrice'' as the end of the season became closer.<ref name=WEIN131/>

Weinstock assumes that it is Locatelli who replied to "A.B.", asserting that Bellini and Romani were trying to achieve perfection before taking the opera to London. Then a torrent of anti-''Beatrice'' letters appeared after the first performance, followed by a pro-Bellini reply, signed "A friend of M. Bellini". This letter removes the blame from Bellini and lays it at the feet of Romani, outlining the timetable for the delivery of the libretto, which was contracted to be due in two parts: one in October and then the second in November. The author states that, except for a limited amount of text, nothing had been received by mid-January and the piece continues by describing the legal proceedings taken by Bellini and the various setbacks which occurred even after Romani arrived in Venice. On 2 April, this provoked a response from Romani himself, presenting his case against Bellini based largely on the composer's inability to decide on a subject, as well as justifying all the work which he did after arriving in Venice, only to find his ''melodramma'' "touched up in a thousand ways", in order to make it acceptable to "the Milords of the Thames [who] await him", a sarcastic reference to planned trip to London. Another, a more "venomous" version of this letter, was sent to Milan's ''L'Eco''.<ref name=WEIN131/>

"Pietro Marinetti" replied from the pro-Bellini camp in the Milan journal, ''Il Barbiere di Siviglia'' on 11 April. In "Two Words for Signor Felice Romani" [but which takes five pages in print], he states that it is not his intention to defend the composer but "only to vent my displeasure given me and all sensitive people by the very sarcastic manner, full of personal rancor and hauteur, with which Signor Romani has undertaken to assail his antagonist."<ref>Pietro Marinetti, "Two Words for Signor Felice Romani", ''Il Barbiere di Siviglia'', 11 April 1833, in {{harvnb|Weinstock|1971|pp=135–139}}</ref> Not unexpectedly, a further "cannonade" (says Weinstock) appeared from Romani, published this time in ''L'Eco'' on 12 April 1833 with both an editor's preface, decrying the poor taste displayed by both sides, and a brief final response from Marinetti.<ref>Detailed in {{harvnb|Weinstock|1971|pp=140–142}}, who notes that the entire contents of the letters is reprinted in {{harvnb|Cambi|1943}}.</ref>

====The relationship begins to be repaired====
Having been invited to write a new opera for the San Carlo for the 1834–35 Carnival season, but declined because of his Paris commitment, he stated that May 1835 might be possible when he knew who were to be the contracted singers. Florimo immediately began to try to persuade his friend, indicating that Malibran had been engaged for Naples in January 1835. Continuing his letter to Florimo, he states:
<blockquote>why the Management&nbsp;... doesn't make a contract with Romani; not just for one libretto, but by the year&nbsp;... with the understanding that he come to live in Naples; thus he could write the libretto for me as the only poet attached to the theatre, and if they want to negotiate with him, they can commission me to arrange it; I'd like to return good for evil to that wrongheaded and very talented man&nbsp;...<ref name=WEIN160>Bellini to Florimo, 11 March 1834, in {{harvnb|Weinstock|1971|pp=160–161}}</ref></blockquote>

From that statement of March 1834, it does not appear that animosity still existed on the composer's part. Through an intermediary, Bordesi (or Bordese), a mutual friend of both men, Romani initially expressed interest in re-establishing friendly relations with Bellini. Thus, Bellini wrote back to the intermediary stating: "Tell my dear Romani that I still love him even though he is a cruel man" and he continues by wondering if Romani ever thinks about him where he, Bellini, says "whereas I do nothing but to talk about him to the entire universe". Then he ends with: "Give him a kiss for me".<ref>Bellini to Bordese, 11 June 1834, a letter published by Antonino Amore in 1894 (in addition to a draft of Bellini's unsent letter to Romani), in {{harvnb|Weinstock|1971|pp=166–167}}</ref> This was followed by a letter to Florimo in late May where Bellini wishes to know if Romani reciprocated his feelings, which—it appears—did happen when he writes to Romani himself (most likely expansion of the initial draft) laying out a series of concerns, but quoting back to him a part of his own letter to Bordese in which Romani states "I have not ceased to love him [Bellini], for I recognise that the blame is not all his".<ref name=WEIN167>Romani being quoted in the letter from Bellini to Romani, 29 May 1834, in {{harvnb|Weinstock|1971|p=167}}</ref>

In conclusion, Bellini suggests "draw[ing] a veil over everything that happened", stating that he cannot come to Milan at this time but, since he was planning to write the opera for Naples for 1836, he could do so in January [1835: presumably after ''I puritani'']. He ends by saying that, if he does not hear back from Romani, he will not write to him again.<ref name=WEIN167/> Little is known about Romani's reply, but reply he did, as indicated in Bellini's letter to Florimo in October followed by a very friendly one on 7 October 1834 to the librettist (who had been engaged in Turin) and in which he states: "It seemed impossible to exist without you", closing with "Write for Turin or for wherever, write {{em|for me alone: only for me}}, for your Bellini".<ref>Bellini to Romani, 7 October 1834, in {{harvnb|Weinstock|1971|pp=168–169}}</ref>

Within a year of writing that letter, Bellini was dead. The two men never did meet again.