Fanny Eckerlin has speculated on this last point that Eckerlin may have been chafing at the restrictions of her contract, as by this time she had already appeared with some success at La Scala, where she had debuted in "La gazza ladra" during the 1817–18 season. During Eckerlin's career she spent several seasons at the Teatro Italiano in Barcelona, where a claque in her honor was created, and where she won many favorable notices for her work before accepting a contract with the Salle Favart in Paris. She was a noted interpreter of Rossini, and during his tenure at the helm of
La Fenice sooner had the opera house been rebuilt than a legal dispute broke out between the company managing it and the owners, the Venier family. The issue was decided in favor of the Veniers. At the beginning of the 19th century, La Fenice acquired a European reputation. Rossini mounted two major productions there: "Tancredi" in 1813 and "Semiramide" in 1823. Two of Bellini's operas were given their premieres there: "I Capuleti e i Montecchi" in March 1830 and "Beatrice di Tenda" in March 1833. Donizetti, fresh from his triumphs at La Scala in Milan and at the Teatro di San Carlo