Julian Budden provides a summary of the strengths of this opera and demonstrates how it takes on many new dimensions based on several things: the relatively longer time-frame for completing the piece, the fact that Verdi did make sketches of some of the music in advance, the opportunity "to allow the newly-acquired Parisian elements to become assimilated into his Italian style" – resulting in "the best of it set a new standard in Verdian opera." He demonstrates how in act 3, "the sensitive scoring, the flexibility of the musical forms, the growing importance of the role which Verdi assigned to the orchestra ... permits him to write two lengthy dialogue recitatives (Luisa and Miller; Luisa and Rodolfo). Of these two duets, David Kimball notes that they "best illustrate Verdi's habit of fashioning the musical forms to match the dramatic purpose", although Parker slightly qualifies this by stating that he sees the opera's importance amongst those written pre-"Rigoletto" as being not so much "for its formal experiments as for its control of conventional musical forms, especially the grand duet." In that regard, he sees it as resembling "Il trovatore".