Verdi's next work was "Les Vêpres Sicilliennes," written for the Paris Grand Opéra, and given for the first time there June 13, 1855. It is a brilliant work, but made no advance on its immediate predecessors from the same source. Then came "Simon Boccanegra," for La Fenice, produced March 12, 1857. It was an irretrievable failure, despite its fine and intensely dramatic last act. This was followed by "Un Ballo in Maschera," brought out at the Teatro Apollo, Rome, Feb. 17, 1859. There was again trouble with the police, who objected to the original title, "Gustavo III.," a monarch who was assassinated. The text was also deemed objectionable, and the composer was commanded to choose other words for his music. Verdi indignantly refused, and the manager of the San Carlo at Naples, for whom the work was written, brought an action against Verdi for damages to the extent of two hundred thousand francs. This affair almost excited a revolution in Naples. The populace assembled outside Verdi's house and cheered him and followed him through the streets, shouting "Viva Verdi!" his name, read acrostically, signifying "_V_ittorio _E_mmanuele _R_e _D_i _I_talia"; the cry, though apparently honoring the composer, carrying with it a revolutionary significance. However, the title was changed; a governor of Boston replaced Gustavo III., and the opera was one of Verdi's most decided popular successes. His next opera was composed for St. Petersburg, and was "La Forza del Destino." It was brought out with mild success Nov. 10, 1862. Then succeeded "Don Carlos," for the Grand Opéra in Paris, produced March 11, 1867, and enthusiastically received; but it added nothing to Verdi's fame. He was now fifty-four years old, and had written twenty-six operas. His fame was world-wide, and he was the greatest living Italian opera composer. Wealth and honors had followed glory, and the son of the poor innkeeper of Roncole was now one of whom his native land was proud.