Adina in Donizetti's L'elisir d'amore and Sandrina in Luigi Ricci's Un'avventura di Scaramuccia. However, the record of constant performances over several years has invited speculation about what that might have done to the quality of her voice in later years. The 1840s Returning to Milan for rehearsals of Nabucco, she claimed that illness would prevent future performances in Vienna and asked to be relieved of that obligation. Lanari ordered a complete medical examination which concluded that she had "reached the limits of her endurance" and that she would be obliged to give up her career or else she would become a consumptive. She persisted with Nabucco, singing all eight performances of Verdi's opera: in her words to Lanari, "I dragged myself to the end of the performances" and then told him that she had the possibility of an offer of marriage from a man who would only do so if she were free from contractual obligations. The doctors' conclusions would allow her to do that, but it took her more than a year to recover. Strepponi continued to remain a highly popular singer during the early 1840s. She notably sang the title role in Donizetti's Adelia in 1841 at the Teatro Apollo in Rome, a role written specifically for her by the composer. This was followed by a critically acclaimed portrayal as Abigaille in the world premiere of Verdi's Nabucco at La Scala in 1842. She reprised the role of Abigaille in several opera houses throughout Italy the following year, including the Teatro Regio di Parma and the Teatro Comunale di Bologna, which considerably aided the work's popularity. Also in 1843, she sang the roles of Elisabetta in Donizetti's Roberto Devereux and Imogene in Bellini's Il pirata in Bologna. Other notable roles for Strepponi during the early 1840s included the title role in Bellini's Norma, the Marchesa del Poggio in Verdi's Un giorno di regno, and the title role in Giovanni Pacini's Saffo. Around 1844, Strepponi began to experience significant vocal problems, most likely brought on by her relentless performing schedule, which culminated in a disastrous season in Palermo in 1845, where she was booed by audiences. Her voice never recovered and she thereafter appeared only sporadically in operas until her retirement in February 1846. Most of her last performances were in operas by Verdi, including performances of Elvira in Ernani and Lucrezia Contarini in I due Foscari. Strepponi's children