Editing Gaetano Donizetti (section)

====1824–1830: Palermo and Naples====
Back in Naples, he embarked upon his first venture into English [[Romanticism]]<ref name=ALL27>{{harvnb|Allitt|1991|pp=27–28}}</ref> with the ''opera semiseria'', ''[[Emilia di Liverpool]]'', which was given only seven performances in July 1824 at the Nuovo. The critical reaction in the ''Giornali'' some months later focused on the weaknesses of the ''semiseria'' genre itself, although it did describe Donizetti's music for ''Emilia'' as "pretty".<ref>The ''Giornali'' in {{harvnb|Ashbrook|1982|p=32}}</ref> The composer's activities in Naples became limited because 1825 was a Holy Year in Rome and the death of Ferdinand I in Naples caused little or no opera to be produced in either city for a considerable time.
[[File:Giovanni Battista Rubini Portrait.jpg|thumb|left|upright|Giovanni Battista Rubini]]
However, he did obtain a year-long position for the 1825/26 season at the Teatro Carolino in Palermo, where he became musical director (as well teaching at the [[Palermo Conservatory]]).{{sfn|Weinstock|1963|pp=43–44}} There, he staged his 1824 version of ''[[L'ajo nell'imbarazzo]]'' as well as his new opera ''[[Alahor in Granata]]''. But overall, his experience in Palermo does not appear to have been pleasant, mainly because of the poorly managed theatre, the continual indisposition of singers, or their failure to appear on time. These issues caused a delay until January 1827 for the premiere of ''Alahor'', after which he went back in Naples in February, but with no specific commitments until midsummer.{{sfn|Allitt|1991|pp=28–29}}

That summer was to see the successful presentations at the Teatro Nuovo of the adapted version of ''L'ajo nell'imbarazzo'' given as ''[[Don Gregorio (opera)|Don Gregorio]]'' and, a month later, a one-act ''[[melodramma]]'' or opera, ''[[Elvida]]'', a ''[[pièce d'occasion]]'' for the birthday of [[María Isabella of Spain|Queen Maria of the Two Sicilies]], which contained some florid music for the tenor [[Giovanni Battista Rubini]]; but it only received three performances.{{sfn|Ashbrook|1982|pp=38–39}}

Writer John Stewart Allitt observes that, by 1827/28, three important elements in Donizetti's professional and personal life came together: Firstly, he met and began to work with the librettist [[Domenico Gilardoni]], who wrote eleven librettos for him, beginning with ''[[Otto mesi in due ore]]'' in 1827 and continuing until 1833. Gilardoni shared with the composer a very good sense of what would work on stage.<ref name=ALL29-30>{{harvnb|Allitt|1991|pp=29–30}}</ref> Next, the Naples impresario Barbaja engaged him to write twelve new operas during the following three years.<ref name=ALL29-30 /> In addition, he was to be appointed to the position of Director of the Royal Theatres of Naples beginning in 1829, a job that the composer accepted and held until 1838. Like Rossini, who had occupied this position before him, Donizetti was free to compose for other opera houses. Finally, in May 1827 he announced his engagement to Virginia Vasselli, the then 18-year-old daughter of the Roman family who had befriended him there.<ref name=ALL29-30 />

The couple were married in July 1828 and immediately settled in a new home in Naples. Within two months he had written another ''opera semiseria'', ''[[Gianni di Calais]]'', from a libretto by Gilardoni. It was their fourth collaboration, and became a success not only in Naples but also in Rome over the 1830/31 season. Writing about the Naples premiere, the correspondent of the ''[[Gazzetta privilegiata di Milano]]'' stated: "The situations that the libretto offers are truly ingenious and do honour to the poet, Gilardoni. Maestro Donizetti has known how to take advantage of them...",<ref name=WEIN64>Review in the ''Gazzetta privilegiata'', in {{harvnb|Weinstock|1963|p=64}}</ref> thus reaffirming the growing dramatic skills displayed by the young composer.