However, while Verdi had specified Fraschini, Budden notes that the management were not able to guarantee his presence and, besides, Muzio's "ear to the ground for news of the London opera season" had discovered that the preferred tenor there was Italo Gardoni who did sing the premiere. Verdi left Italy at the end of May 1847, accompanied by his long-time assistant and student Emanuele Muzio, with his work for London completed, except for the orchestration, which he left until the opera was in rehearsal. Apart from this being somewhat standard practice, another reason is noted by Gabiele Baldini in "The Story of Giuseppe Verdi": the composer wanted to hear "la Lind and modify her role to suit her more exactly." However, there had already been rumblings that Lind may not be present; in a letter to Lumley in April, the composer had warned the impresario that he "would not put up with the slightest shortcoming" and that he would withdraw the opera "if my opera is not put on at the proper time and with everything done as it ought to be done" An additional issue emerged. The travelers having reached Paris, Verdi heard rumours that Lind was not willing to learn new roles and, therefore, Muzio was sent across the English Channel ahead of the composer, who waited for an assurance that the soprano was in London and willing to proceed. From London, Muzio was able to give Verdi that assurance, informing him that Lind was ready and eager to go to work. Verdi continued his journey, crossing the Channel on 5 June. Lumley had assembled a cast of the highest international standard, specifically the Swedish coloratura soprano Jenny Lind, who came to create the role of Amalia, the opera's heroine. Thus, this opera became the highlight of her first season in England. After considerable persuasion Verdi agreed to conduct the premiere on 22 July 1847 and also conducted the second performance and after Verdi's departure, it was given two more times before the end of the season. Queen Victoria and Prince Albert attended the first performance, together with the Duke of Wellington and every member of the British aristocracy and fashionable society who was able to gain admission. Overall, the premiere was a triumphant success for the composer himself, and the press was for the most part generous in its praise, although the critic Henry Chorley was to describe it as "the worst opera that has been given in our time at Her Majesty's Theatre.