 During his years in Italy Meyerbeer became acquainted with , and impressed by , the works of his contemporary Gioachino Rossini , who by 1816 , at the age of 24 , was already director of both major opera houses in Naples and in the same year premiered his operas The Barber of Seville and Otello . Meyerbeer wrote a series of Italian operas on Rossinian models , including Romilda e Costanza ( Padua , 1817 ) , Semiramide riconosciuta ( Turin , 1819 ) , Emma di Resburgo ( Venice , 1819 ) , Margherita d 'Anjou ( Milan 1820 ) and L 'esule di Granata ( Milan 1821 ) . All but the last two of these had libretti by Gaetano Rossi , whom Meyerbeer continued to support until the latter 's death in 1855 , although not commissioning any further libretti from him after Il crociato in Egitto ( 1824 ) . During a visit to Sicily in 1816 , Meyerbeer noted down a number of folksongs , and these in fact constitute the earliest collection of folk music of the region . In a birthday greeting from Rossi 's wife in 1817 occurs the earliest use discovered of Meyerbeer 's adopted forename ' Giacomo ' . 
 During his years in Italy Meyerbeer became acquainted with , and impressed by , the works of his contemporary Gioachino Rossini , <a href='null_relcl' title='1'><mark>who</mark></a>by 1816 , at the age of 24 ,<a href='been_done' title='2'><mark></mark></a> was already director of both major opera houses in Naples and in the same year premiered his operas The Barber of Seville and Otello . Meyerbeer wrote a series of Italian operas on Rossinian models , including Romilda e Costanza ( Padua , 1817 ) , Semiramide riconosciuta ( Turin , 1819 ) , Emma di Resburgo ( Venice , 1819 ) , Margherita d 'Anjou ( Milan 1820 ) and L 'esule di Granata ( Milan 1821 ) . All but the last two of these <a href='been_done' title='3'><mark>had</mark></a> libretti by Gaetano Rossi , whom Meyerbeer continued to support until the latter <a href='null_genetive' title='4'><mark>'s</mark></a>death in 1855 , although not commissioning any further libretti from him after Il <a href='negative_concord' title='5'><mark>crociato</mark></a> in Egitto ( 1824 ) . During a visit to Sicily in 1816 , Meyerbeer noted down a number of folksongs , and these in fact constitute the earliest collection of folk music of the region . In a birthday greeting from Rossi <a href='null_genetive' title='6'><mark>'s</mark></a>wife in 1817 <a href='uninflect' title='7'><mark>occurs</mark></a> the earliest use discovered of Meyerbeer <a href='null_genetive' title='8'><mark>'s</mark></a>adopted forename ' Giacomo ' . 
During his yrs in Italy Meyerbeer became acquainted with , and impressed by , da works of his contemporary Gioachino Rossini , by 1816 , at tdaage of 24 , done was already director of both major opera houses in Naples and in the same year premiered his operas The Barber of Seville and Otello . Meyerbeer wrote a series of Italian operas on Rossinian models , including Romilda e Costanza ( Padua , 1817 ) , Semiramide riconosciuta ( Turin , 1819 ) , Emma di Resburgo ( Venice , 1819 ) , Margherita d 'Anjou ( Milan 1820 ) and L 'esule di Granata ( Milan 1821 ) . All but the last two of these done libretti by Gaetano Rossi , whom Meyerbeer continued to support until the latter  death in 1855 , although not commissioning any further libretti from em after Il no crociato in Egitto ( 1824 ) . During a visit to Sicily in 1816 , Meyerbeer noted down a number of folksongs , and these in fact constitute the earliest collection of folk music of the region . In a birthday greeting from Rossi  wife in 1817 occur the earliest use discovered of Meyerbeer  adopted forename ' Giacomo ' .