that shines throughout ... communicate to this opera an imprint of grandeur, a species of sovereign majesty more distinguishable than in this composer's earlier products. Budden notes that "the critics found much to admire in the new opera. ... Adolphe Adam declared that Les vêpres had converted him to Verdi's music", but Verdi himself, in a letter of late June, notes that three Italian writers were the most critical". However, its success was not long-lasting. Because the original version never entered the established repertory, performances "limped along" until Verdi attempted to aid its revival at the Paris Opéra on 6 July 1863 by revising some of the roles for selected singers. However, after a few performances, the opera disappeared and was replaced by the French version of Il trovatore, Le trouvère. Except for this one revival in Paris in 1863, "it vanished from the Parisian stage altogether" 20th century and beyond After a long period of relative neglect, the opera in its original French version has begun to appear onstage more regularly in the 21st century. A production was mounted at the Bastille Opera in 2003 and a 2010 production by the Netherlands Opera. In May 2011 French versions were presented at the Grand Théâtre de Genève and at the Teatro San Carlo in Naples and, in February 2013, the ABAO company in Bilbao presented the opera. Other presentations have included stagings by Frankfurt Opera in 2013 and Bavarian State Opera in 2018. The Royal Opera House Covent Garden's staging of the full version for the first time in its history (minus the ballet) in October/November 2013 drew a variety of critical responses. Verdi's Italian-language version An Italian libretto was quickly prepared under Verdi's supervision by the poet Ettore Caimi. The composer was aware that in Italy at that time, it would have been impossible to place the story in Sicily, as he notes to his publisher Giulio Ricordi in April 1855: "I shall ... (change) the subject so as to render it acceptable for Italian theatres". Based on Scribe's suggestions for changing the location - "I suggested that the Duke of Alba should just pack his bags once more and move to Lisbon" - it became Portugal in 1640 while under Spanish control. Therefore, the title was changed to Giovanna de Guzman. Overall, Verdi was not happy with the translation, which Budden regards as "one of the worst ever