Therefore, although he was constantly writing for such important houses as the San Carlo, the Nuovo and the Fondo, in Naples; the Valle, in Rome; the Carlo Felice, in Genoa; and later for the Scala and the Carcano, in Milan; the catalogue of these works presents an array of names unfamiliar to any but systematic students of musical literature. There are indications, here and there, that his reading of books was wider than that of some of his contemporaries and that there was springing up in him a preference for historical subjects, as well as that interest in the novels of Walter Scott which ultimately became almost a passion with him. "La Regina de Golconda," "Jeanne di Calais," "Il Castello di Kenilworth," "Francesca di Foix," "Imelda dei Lambertazzi" and "Anna Bolena" are titles which appear between 1828 and 1831, while it is recorded that he composed in 1830 an oratorio about the deluge.
Returning for a moment, it is to be noted that in 1822 he was in Naples, making studies in the Conservatory whose librarian, Sigismondi, objected intensely to the new style which had come in with Rossini, and it was only by some ingenious device that Donizetti obtained the scores he was so anxious to peruse. Wherever he went he was handsomely received and greatly applauded. In 1826 he had special honor from the Queen of Naples, and the celebrated manager Barbaja ordered a number of operas for his various theatres and made him director of the Nuovo for two years. During this period he wrote various isolated airs, eminent among which is a setting of Dante's "Count Ugolino's Lament," written for the basso Lablache. Like other composers of the time, Donizetti may be said to have had no fixed residence. If he had a commission from any city, he established himself there temporarily, to be in close and intelligent relationship with the manager, the artists and the public whom he was to please. It was near the close of 1830 that the first work of his which holds a present place, "Anna Bolena," was sung at the Carcano, having been put in rehearsal within four weeks after its beginning. This was adjudged so great a work that Mayer wrote concerning it that "at last the French had to confess that Italy had another composer beside Rossini." Close upon this serious opera came "L'Elisire d'Amore," which still stands beside Rossini's "Cenerentola," a splendidly gay illustration of the best Italian _buffo_ writing.