Clelia Maria Giuseppa (Giuseppina) Strepponi (Lodi, 8 September 1815 – Villanova sull'Arda, 14 November 1897) was a nineteenth-century Italian operatic soprano of great renown and the second wife of composer Giuseppe Verdi. She is often credited with having contributed to Verdi's first successes, starring in a number of his early operas, including the role of Abigaille in the world premiere of Nabucco in 1842. A highly gifted singer, Strepponi excelled in the bel canto repertoire and spent much of her career portraying roles in operas by Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, often sharing the stage with tenor Napoleone Moriani and baritone Giorgio Ronconi. Donizetti wrote the title role of his opera Adelia specifically for Strepponi. She was described as possessing a "limpid, penetrating, smooth voice, seemly action, a lovely figure; and to Nature's liberal endowments she adds an excellent technique"; her "deep inner feeling" was also lauded. Both her personal and professional life were complicated by overwork, by at least three known pregnancies, and by her vocal deterioration which caused her to retire from the stage by the age of 31, in 1846 when she moved to Paris to become a singing teacher. While it is known that she had a professional relationship with Verdi from the time of his first opera, Oberto in 1839, they became a couple by 1847 when they lived together in Paris, then moved to Busseto in 1849, married in 1859, and remained together until the end of her life. Early life Strepponi was born in the city of Lodi in the Lombard region of Italy. She was the oldest child of Rosa Cornalba and Feliciano Strepponi (1797–1832), who was the organist at Monza Cathedral and a moderately successful opera composer, his works having been performed in theatres in Milan, Turin and Trieste. Her first lessons in music were with her father who focused mainly on teaching her to play the piano, but in 1830 she was enrolled in the Milan Conservatory although just over the age of 15. After her father's death at the age of 35 in 1832 of encephalitis, she was able to continue studying singing and the piano as a non-paying pupil at the Conservatory where she notably won first prize for bel canto during her final year in 1834. Her performance of the cavatina from Beatrice di Tenda and for her parts in both a duet and a