Comic opera had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy the overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision. The genre was developed further in the 19th century by Gioachino Rossini in his masterpieces such as "The Barber of Seville" (1816) and "La Cenerentola" (1817). French composers eagerly seized upon the Italian model and made
Gioachino Rossini Bologna. His mother had died in 1827, and he was anxious to be with his father. Arrangements for his subsequent return to Paris on a new agreement were temporarily upset by the abdication of Charles X and the July Revolution of 1830. Rossini, who had been considering the subject of Faust for a new opera, did return, however, to Paris in November of that year. Six movements of his "Stabat Mater" were written in 1832 by Rossini himself and the other six by Giovanni Tadolini, a good musician who was asked by Rossini to complete the work. However, Rossini composed