Carlos and the King after the death of Posa in Act 4, Scene 2; and an exchange between Elisabeth and Eboli during the insurrection in the same scene. After the ballet had been composed, it emerged during the 1867 rehearsal period that, without further cuts, the opera would not finish before midnight (the time by which patrons would need to leave in order to catch the last trains to the Paris suburbs). Verdi then authorised some further cuts, which were, firstly, the introduction to Act 1 (with a chorus of woodcutters and their wives, and including the first appearance of Elisabeth); secondly, a short entry solo for Posa (J'étais en Flandres) in Act 2, Scene 1; and, thirdly, part of the dialogue between the King and Posa at the end of Act 2, Scene 2. The opera was first published as given at the première and consisted of Verdi's original conception, without the music of the above-named cuts, but with the ballet. In 1969, at a Verdi congress in Verona, the American musicologist David Rosen presented the missing section from the Philip-Posa duet from the end of Act 2, which he had found folded down in the conductor's copy of the score. Other pages with cuts had simply been removed from the autograph score and the conductor's copy. Shortly thereafter, the British music critic Andrew Porter found most of these other cut passages could be reconstructed from the individual parts, in which the pages with the "lost" music had been either "pasted, pinned or stitched down." In all, 21 minutes of missing music was restored. Nearly all of the known music Verdi composed for the opera, including the pre-première cuts and later revisions, can be found in an integral edition prepared by the German musicologist Ursula Günther, first published in 1980 and in a second, revised version in 1986. Performance history 19th century As Don Carlos in French After the première and before leaving Paris, Verdi authorised the Opéra authorities to end Act 4, Scene 2 with the death of Posa (thereby omitting the insurrection scene) if they thought fit. This was done, beginning with the second performance on 13 March, after his departure. Further (unauthorised) cuts were apparently made during the remaining performances. Despite a grandiose production designed by scenic artists Charles-Antoine Cambon and Joseph Thierry (Acts I and III), Édouard Desplechin and Jean-Baptiste Lavastre (Acts II and V),