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Bellini spent 1827 to 1833 mostly in Milan, never holding any official position within an opera company and living solely from the income produced from his compositions, for which he was able to ask higher than usual fees.
Upon his arrival, he met Antonio Villa of La Scala and composer [[Saverio Mercadante]] whose new opera, ''Il Montanaro'' was in rehearsal. The latter introduced him to [[Francesco Pollini|Francesco]] and Marianna Pollini (an older couple, the husband a retired professor of piano, the wife a better-than-amateur musician) who immediately took the young man under their wing.
In addition, Bellini was introduced to the librettist [[Felice Romani]], who proposed the subject of the composer’s first project, ''[[Il pirata]]'', to which the young man willingly agreed especially when he realised that the story "provided several passionate and dramatic situations.. [and]..that such Romantic characters were then an innovation on the operatic stage."{{sfn|Galatopoulos|2002|p=62}} A strong professional relationship with Romani began from that time; he became Bellini’s primary creative partner, providing the libretti for six of Bellini’s operas which followed, in addition to about 100 libretti written for the major composers of the day, up to and including Verdi.<ref name=EIS>{{harvnb|Eisenbeiss|2013|p=157}}</ref> As has been observed, "no other Italian opera composer of the time showed such an attachment to a single librettist"<ref name=L&M389/> and although Romani was known to treat composers poorly, he evidently had great respect for Bellini, even acceding to his requests for revisions.<ref name=CICC>{{harvnb|Cicconetti|1859|pp=39–40}}</ref> For his part, Bellini admired "the sonorous and elegance of the poet's verses"<ref name=L&M389/>
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