One year later, namely, on Jan. 6, 1694, Scarlatti was appointed musical director of the royal chapel at Naples, where his first work seems to have been the production of Legrenzi's "Odoacre," with certain adaptations and additions of his own. In a prefatory note to the published edition, Scarlatti says: "The airs rewritten by the editor are distinguished by an asterisk, to the end that their faults should not prejudice the reputation of Legrenzi, whose immortal glory is an object of the editor's unlimited respect." Nevertheless, it may be remarked in passing, this respect did not prevent him from making important changes in the work,--changes which he must have believed improvements, and likely to render the performances more successful. Apparently the modesty of the young composer was technical and verbal rather than anything deeper. There is every indication that Scarlatti found the Neapolitan position very much to his taste. As yet we are without a carefully prepared biography, and little is known of this part of his career beyond the names and times of performance of the operas, which followed each other rapidly, at the rate of at least three a year during his entire productive career. Among those of the first ten years at Naples, the following are to be mentioned: "Pirro e Demetri," 1697; "Il Prigionero Fortunato," 1698; and "Laodicea e Berenice," 1701. During this period he was director of the conservatory of San Onofrio. Here, moreover, he at least inspired the teaching of the voice, for it was at this school, under Scarlatti's direction, that many of the most eminent singers of the first quarter of the eighteenth century were educated. Among the names mentioned in this connection are those of Farinelli, Senesimo, and Mme. Faustina Hasse. It is probable that Scarlatti himself taught singing, in support of which reasons will be mentioned later. At this time Naples was in considerable disturbance of a political kind, and in 1703 the situation became insupportable to Scarlatti, who thereupon turned his steps once more towards Rome, where he was appointed assistant musical director of Santa Maria Maggiore, in 1703. Four years later, upon the death of the musical director, Antoine Foggia, he was made full director. He was also made the musical director at the palace of the distinguished and magnificent Cardinal Ottoboni.