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.