Editing Vincenzo Bellini (section)

==Beginnings of a career==
Following the presentation of ''Adelson e Salvini'' and while he was in Milan, Bellini—requesting help from Florimo—began to make some revisions, shortening the opera to two acts in the hope that it might be given stagings by [[Domenico Barbaja]], the Intendant at the Teato di San Carlo since 1809. But little is known about exactly how much Bellini or Florimo contributed to the revisions, and Weinstock asserts that no performances were ever given after 1825, but in March 1829, we find Bellini writing to Florimo that "I have written you the changes that you should make in ''Adelson'' ".<ref>Bellini to Florimo, in {{harvnb|Weinstock|1971|pp=9, 27–28}}</ref>

In the summer or early autumn of 1825 Bellini began work on what was to become his first professionally produced opera. A contract between the Conservatory and the royal theatres obliged the Conservatory—when it nominated a sufficiently talented student—to require that student to write a cantata or one-act opera to be presented on a gala evening in one of the theatres.<ref name=WEIN30>{{harvnb|Weinstock|1971|pp=30–31}}</ref> After Zingarelli used his influence to secure this honour for his promising student, Bellini was able to obtain agreement that he could write a full-length opera and, furthermore, that the libretto did not have to be written by Tottola, the theatres' official dramatic poet. However, as Intendant of the San Carlo, "Barbaja was the chief beneficiary: 'With a small investment he found among those young men the one who would lead him to large profits'" notes Florimo.<ref>Florimo 1882, ''Bellini: Memorie e lettere'', in {{harvnb|Eisenbeiss|2013|p=155}}</ref>

=== ''Bianca e Gernando'' ===
[[File:Carlo De Falco - Ritratto di Francesco I.jpg|thumb|upright|King [[Francis I of the Two Sicilies|Francesco I]], who gave his personal approval to Bellini's ''[[Bianca e Gernando]]'']]

The young composer chose [[Domenico Gilardoni]], a young writer who then prepared his first libretto, which he named ''Bianca e Fernando'', based on an 1820 play, ''Bianca e Fernando alla tomba di Carlo IV, Duca d'Agrigento'' and set in Sicily.

However, the title ''Bianca e Fernando'' had to be changed, because Ferdinando was the name of the [[Ferdinand II of the Two Sicilies|heir to the throne]], and no form of it could be used on a royal stage. After some delays caused by King [[Francis I of the Two Sicilies|Francesco I]] forcing postponement, the opera—now named ''[[Bianca e Gernando]]''—was given its premiere performance at the Teatro di San Carlo on 30 May 1826, Prince Ferdinando's name day.

It was very successful, helped by the approval of the King, who broke the custom of there being no applause at a performance attended by royalty.<ref name=GALA54>{{harvnb|Galatopoulos|2002|pp=54–55}}</ref> It was also attended by Donizetti who enthusiastically wrote to [[Simon Mayr]]: "It is beautiful, beautiful, beautiful, especially as it is his first opera."<ref>Donzietti to Mayr, quoted in {{harvnb|Galatopoulos|2002|p=54}}</ref> Bellini's music was highly regarded, with the ''Giornale delle Due Sicilie'' on 13 June noting that "[several of the arias and duets] are some of the most laudable pieces of new music heard in recent times at the [San Carlo]."<ref name=GALA54/> However, there were reservations about Gilardoni's contribution.

Within nine months, in February/March 1827, Domenico Barbaja offered Bellini a commission for an opera to be presented in the autumn of 1827 at [[Teatro alla Scala|La Scala]] in Milan, of which between 1821 and 1832, Barbaja was also part of the management.{{sfn|Galatopoulos|2002|pp=57–58}}<ref name="WEIN30–34">{{harvnb|Weinstock|1971|pp=30–34}}</ref>