Rossini had plenty of work to do at Naples, for, besides composing two new operas every year he had to transpose parts and to correct and complete operatic scores. But in addition to all this he found time to write two works for Rome, which were produced in 1816, during the carnival. One of these, _Torvaldo e Dorliska_, was brought out at the Teatro Valle where it met with so little success that the composer informed his mother of the fact by sending her the drawing, not this time of a full-sized _fiasco_, but of a small _fiasco_ or _fiaschetto_. _Torvaldo e Dorliska_, in which the principal parts were written for Remorini and Galli, the two best bass singers of their time, and for Donzelli, the celebrated tenor, must in spite of its failure have possessed some merit. It was performed at Paris in 1825 for the first appearance of Mademoiselle Garcia, the future Malibran; and Rossini borrowed from it the motive of the admirable letter duet in _Otello_. CHAPTER VII. PREPARATIONS FOR THE BARBER. _Torvaldo e Dorliska_ was followed, after but a short interval, by _Il Barbiere_, for which a contract was signed the very day, Dec. 26, on which _Torvaldo_ was brought out. The contract was in the following terms:-- "_Nobil Teatro di Torre Argentina_, Dec. 26th, 1815. "By the present act, drawn up privately between the parties, the value of which is not thereby diminished, and according to the conditions consented to by them, it has been stipulated as follows:-- "Signor Puca Sforza Cesarini, manager of the above-named theatre, engages Signor Maestro Gioachino Rossini for the next carnival season of the year 1816; and the said Rossini promises and binds himself to compose and produce on the stage, the second comic drama to be represented in the said season at the theatre indicated, and to the libretto which shall be given to him by the said manager, whether this libretto be old or new. The Maestro Rossini engages himself to deliver his score in the middle of the month of January, and to adapt it to the voices of the singers; obliging himself, moreover, to make, if necessary, all the changes which may be required, as much for the good execution of the music as to suit the capabilities or exigencies of the singers.