Nevertheless, his individuality and its peculiar bent could not be altogether hidden, and he more than once provoked the angry censure of Zingarelli, who could not abide innovations, and who went so far as to say that if this rebelliously independent pupil persisted in writing the opera which he purposed, he must do it unaided. The youth kept on, and soon finished his music for "Adelson e Salvini," the text being an old libretto of Fioravanti. This opera, performed by fellow-pupils on the Conservatory stage, gave some hints of original talent, but as a whole it left such an impression that its author indorsed it, "A poor mess." This was in 1825, and the failure was balanced by the success of a cantata entitled "Ismene," which Bellini wrote for a royal festival in San Carlo.
From that night dates his course of almost unbroken success. The famous Barbaja was managing San Carlo, and, moved by his own faith and the urgency of patrons, he gave Bellini a commission. Desirous to complete this in another atmosphere, and to fly from scenes which were painfully associated with his affection for a girl who had been refused to him by her parents, Bellini went to Catania, and returning, brought "Bianca e Gernando," which was performed in May, 1826, by a splendid cast. The writing was unequal, and some of the critical thought they felt the hand of Zingarelli in its best pages. It had a fair success, nevertheless, and Bellini received the handsome amount of three hundred ducats, besides the bright assurance of a prosperous future.
Barbaja was the impresario of La Scala, at Milan, also, and with his accustomed shrewdness he promptly engaged Bellini to write an opera for that stage. To Milan accordingly the young composer went. Here he associated himself with Felice Romani, the most famous Italian librettist, who, whatever may be said of his style, understood dramatic and lyrical effects, and was now at the height of his ability and reputation.
The first result of this union was "Il Pirata," produced at La Scala, Oct. 27, 1827, with a cast including Rubini, Tamburini, and Mme. Méric-Lalande. Bellini bore his new honors modestly, and with more of hope than triumph. Soon Vienna had indorsed the verdict of Milan, and the composer's fame was now not Italian, but European.
Competition for Bellini's services soon began. The Carlo Felice, at Genoa, was about to open, and its manager asked for Bellini's next opera. This—"La Straniera"—was already bespoken, and the Genoese therefore offered eight thousand francs to reproduce "Bianca e Gernando," provided the author would revise it. The sum was tempting, and in April, 1828, the public applauded this reformed edition.
"La Straniera" cost its authors much trouble, for there were situations which poet and musician could not see and feel alike; but at last their spirits harmonized, and on Feb. 14, 1829, this opera met a magnificent reception at La Scala. A richer, more varied, and deeper talent was there shown than in any preceding work, and the proud Catanians caused an honorary medal to be struck in commemoration of it.
Now Parma offered Bellini a remunerative commission, which he accepted, and went thither to prepare his work. He began badly, for he declined the collaboration of a favorite local writer, in order not to separate himself from Romani. The latter's libretto, "Zaira," was poor, and Bellini was not in good vein. All things worked together for ill; so the opera, produced in 1829, was a failure, and only a couple of extracts from it remain.
The other operas were doing so well as to console him for this mortification, and he went from city to city to prepare them for presentation. Venice begged something new for La Fenice; and Bellini, reverting to an early admiration for the story of "Romeo and Juliet," accepted from Romani, "I Capuletti ed i Montecchi," which was given in March, 1830, Grisi making one of the cast, and such parts of "Zaira" as were worth saving being wrought into the score. Success attained the height of a popular ovation, and Francis I., of Naples, sent Bellini the medal of Civil Merit, while he, in turn, dedicated his work in grateful terms to his fellow-citizens of Catania.
But Milan, jealous of the attentions heaped by other cities upon her favorite composer, insisted on his return. Scarcely had he arrived when he was seized with an intestinal disorder which brought him to death's door. But youth, care, and skill saved him, and he began at once his new score, destined for the Carcano, which had a fine company and repertory, and was fairly rivalling La Scala. This score was "La Sonnambula," the libretto of which Romani had founded on a comedietta by Scribe. Bellini was anxious to excel himself, for the leading singers were none other than Pasta and Rubini. The conditions were favorable, for the fascinating and profitable society of these artists and especially of la Pasta, influenced and stimulated his genius. On March 6, 1831, "La Sonnambula" was produced and began that triumphant success which shows small sign of waning.
The management of La Scala at once made Bellini an offer for his next work, among the tempting conditions being the payment of three thousand ducats, and for his interpreters, Pasta, Grisi, Donzelli, and Negrini. The libretto was just after Bellini's own heart, the writing was rapidly accomplished, and on Dec. 26, 1831, only some nine months after the production of "La Sonnambula," "Norma" was sung for the first time on the stage of La Scala. Strangely as it seems now, the opera was almost a failure. The theme was larger and nobler than any which Bellini had treated, and he had risen to its height, leaving behind his light, familiar style, and assuming a breadth and strength of diction in which his admirers did not recognize him. Bellini was astonished and disappointed, but after a few performances a great and deep enthusiasm succeeded the indifference and half-hostility of the early nights.