In 1820, Paganini returned to Milan, where he founded an Amateur Society, _Gli Orfei_, and conducted its concerts for a time; but the roving habits he had acquired rendered a settled life irksome, and he was soon again on the move. The winter found him once more in Rome, where he must have stayed on and off for another year; for he was there in December, 1821, when Rossini was about to produce his opera, "Matilda di Sabran," at the opening of the Carnival season. On the day of the last rehearsal the conductor fell ill, and Rossini was in despair to replace him. Paganini, hearing of his friend's dilemma, offered to conduct the rehearsal and the first performance--his operatic experience at Lucca must not be forgotten--an offer Rossini gratefully accepted. Without a moment's preparation, Paganini set to work to communicate to an unskilled orchestra--it was at the _Teatro d'Apollone_--the composer's intentions and the manner in which they should be interpreted. Having no time for verbal explanation, he did everything by example, playing the first violin part an octave higher than it was written, and making himself heard above the strongest _fortissimo_. At a glance he penetrated the meaning of every movement, and he so worked upon the executants that they obeyed him as if by enchantment. This single rehearsal sufficed to bring about an irreproachable performance, the orchestra undergoing a veritable metamorphosis, to the astonishment of everyone, Rossini included. So far Laphaléque. Sutherland Edwards[10] says Paganini conducted the first three performances, adding, "Never, it is said, did the band of the 'Apollo' play with so much spirit before."