After the French Revolution, Paris emerged as Europe's foremost political center and indisputable cultural capital, and the city began to attract composers both for occasional visits and for extended residencies. The Académie Royale de Musique (the Opéra), the most prestigious of the three major opera houses, held a particular allure. Combining splendor, technical innovation, and quality of performance, it became the institution in which any ambitious composer hoped to score lasting success. A number of Italian composers in particular made Paris their temporary or permanent home: Luigi Cherubini, Gaspare Spontini, and Gioachino Rossini wrote some of their most important works for the Opéra. Gaetano Donizetti and Giuseppe Verdi continued this tradition, the former with La favorite (1840) and Dom Sébastien (1843), the latter with Jérusalem (1847, an extensive reworking of I lombardi, 1843), Les vêpres siciliennes (1855), and Don Carlos (1867). By the time of Don Carlos, Verdi had mastered French grand opera to such a degree that Rossini declared him the genre's leading representative. Referring to the possibility that Verdi might again compose for the Opéra, Rossini asked the publisher Tito Ricordi to “tell [Verdi] from me that if he returns to Paris he must get himself very well paid for it, since – may my other colleagues forgive me for saying so – he is the only composer capable of writing grand opera.”