of the opera differs from both archeological and biblical records of him. In the Book of Daniel, his madness lasts for seven years before his conversion to Judaism. But in the opera it only lasts for the time between the order to kill Fenena and the Jews, and it being carried out. The biblical story of seven years of madness followed by conversion bears more similarity to the Dead Sea Scrolls' story of Nabonidus (556–539 BC), father of Belshazzar in the Cylinders of Nabonidus, than to the historical Nebuchadnezzar. Nabonidus was the last king of Babylon, five kings later than Nebuchadnezzar, and Belshazzar was a temporary regent during Nabonidus' reign. Historical and biblical records agree that the Jews were freed and their temple was rebuilt not by the Babylonians but by Cyrus the Great following his conquest of Babylon in 539 BC. The opera's Nabucco character is thus a composite of historical and biblical Nebuchadnezzar II, Nabonidus and Cyrus. Babylonians addressed their own god as "Bel" (Italian: Belo), related to the deity Marduk, who assumed the title of "lord" after his exaltation. The title "Bel" was in fact used also in connection with Nergal. Critical reaction The opera was an instant success, dominating Donizetti's and Giovanni Pacini's operas playing nearby. While the public went mad with enthusiasm, the critics tempered their approval of the opera. One critic who found Nabucco revolting was Otto Nicolai, the composer to whom the libretto was first offered. A Prussian, Nicolai felt at odds with emotional Italian opera while he lived near Milan. After refusing to accept the libretto proposal from Merelli, Nicolai began work on another offer called Il Proscritto. Its disastrous premiere in March 1841 forced Nicolai to cancel his contract with Merelli and return to Vienna. From there he learned of the success of Nabucco and was enraged. "Verdi's operas are really horrible," he wrote. "He scores like a fool – technically he is not even professional – and he must have the heart of a donkey and in my view he is a pitiful, despicable composer ... Nabucco is nothing but "rage, invective, bloodshed and murder." However, Nicolai's opinions were in the minority. Nabucco secured Verdi's success. At the 1845 premiere of the opera in Paris critics complained about the excessive use of brass instruments and this word play epigram appeared: Vraiment l'affiche est dans son tort, en faux on devrait