He returned to Pesaro, his native town, and there found friends and advocates who facilitated his entrance upon that career by obtaining for him an engagement with the San Mosê theatre of Venice, to write an opera entitled _la Cambiale di matrimonio_, which was performed at that theatre in the autumn of 1810. This little work was a happy beginning for him. The following year he gave to the Corso theatre of Bologna, _l'Equivoco stravagante_, and in 1812 he brought out no less than six operas: _l'Inganno felice_ (San Mosê theatre, Venice), _Ciro in Babilonia_ (Communal theatre, Ferrare), _la Scala di seta_ (San Mosê theatre, Venice), _Demetrio e Polibio_ (Valle theatre, Rome), _la Pietra del paragone_ (Scala theatre, Milan), and _l'Occasione fa il ladro, o il Cambio della valigia_ San Mosê theatre, Venice. These works were not all equally successful, but most of them were very well received as was proved by the eagerness with which the different theatres already strove for the works of so young a composer. Moreover, one could point out in these different scores many remarkable fragments which gave some idea of the precocious genius of the artist, and of the freshness, grace and originality of his inspiration; in _l'Inganno felice_, a very beautiful trio; in _la Pietra del paragone_, a charming cavatina and the finale of the first act; in _Ciro in Babilonia_, two airs and a fine chorus, the principal motive of which became later the theme of the adorable cavatina of the _Barber of Seville_ (Ecco ridente il cielo); finally, in _Demetrio e Polibio_, an exquisite quartet which was afterwards interpolated by the singers into several of the master's works. In 1813, after a _farsa_ entitled _il Signor Bruschino o il Figlio per azzardo_, Rossini again wrote two very important works, one in the serious _genre_, _Tancredi_, the other in the _genre bouffe, l'Italiana in Algeri_. These two works, the first of which was performed at the Fenice theatre, Venice, and the second at the San Benedetto, of the same city, was a double triumph for the author, and placed Rossini once for all in the first rank of the composers of his time. Moreover, they proved that the young master was as much at home in the dramatic _genre_, where he worked with a remarkable grandeur and power, as in light opera, in which he displayed an unequalled verve, gaiety, warmth and originality.