This colossal success opened to Meyerbeer the doors of the largest theatres of Italy. The first of them all, the Scala of Milan, immediately ordered a great work of him. It was _Margherita d'Angiù_, which was performed at this theatre Nov. 14, 1820, where it was sung by Tacchinardi, Levasseur and Rosa Mariani. Here, again, the success was complete, and _Margherita d'Angiù_, almost immediately translated and performed in Germany, was afterwards translated into French for representation at the Odéon. On March 12, 1822, Meyerbeer gave to the Scala theatre the opera _l'Esule di Granata_, the first rôles of which were confided to the tenor Winter, to Lablache, to Mmes. Pisaroni, Adelaide Tosi and Carolina Bassi. But the last triumphs of the composer had excited envy; jealousy awoke on every side, and a cabal was organized for the purpose of crushing this new work. The first act indeed fell flat, thanks to this cabal, and the second seemed doomed to the same fate, when a beautiful _duo_, admirably sung by Lablache and Pisaroni came just in time to save all, and change into a triumph the fall which had appeared inevitable. After this new success, Meyerbeer's health failed him. He had gone to Rome, where he was to bring out an opera in two acts entitled _Almanzor_. He had begun to write the score, when the state of his health obliged him to stop work and seek absolute rest. As soon as he was able he went to Germany, where he passed the whole of the year 1823, now at Berlin, now at some watering place. In the course of this year he wrote a German opera, _The Brandeburg Gate_, which was intended for the Königstadt theatre, but which, it is not known why, was never performed. He then returned to Italy, where awaited him the last and greatest triumphs in that country.