propose that Strepponi became Merelli's lover in the early 1840s and it is claimed that this relationship resulted in another illegitimate child. However, this account is vehemently disputed by both Frank Walker, who declares "but it is not true: it is fiction", as well as biographer Gabriele Baldini, who states "that it is certain that Giuseppina was not Merelli's lover, that she had no sons by him ...". Verdi's biographer, Mary Jane Phillips-Matz, in her account of Strepponi's life both before and after becoming Verdi's partner and then his wife, lays out in detail the singer's history up to the time of Nabucco and her investigations have produced no evidence of the accuracy of the early scenario. Retirement in Paris With Verdi, 1847 to 1849 In October 1846 Strepponi moved to Paris and became a singing teacher. She came out of her stage retirement briefly for one last opera appearance at the Comédie-Italienne which was not well received. Verdi, who was in England for the premiere of his opera I masnadieri in July 1847, returned via Paris and the two began a romantic relationship, with the composer remaining there for two years (albeit with short periods in Italy to firstly return to Milan in April 1848 after the nationalistic uprising there and then to oversee a production of his new opera in Rome, La battaglia di Legnano in early 1849. Return to Italy with Verdi, July 1849 The couple returned to Italy by July 1849 and began living together in Busseto, Verdi's hometown where they first lived at the Palazzo Orlandi. The reaction of many of the people of Busseto towards Giuseppina, a woman of the theatre living openly with the composer in an unmarried state concerned Verdi, and as such, she was shunned in the town and at church. While Verdi could "treat the Bussetani with contempt ... Giuseppina, in the next few years, suffered greatly." From May 1851 they moved to Verdi's house in Sant'Agata just outside the town, which today is known as the Villa Verdi. Although unmarried until 1859, the couple remained together for the rest of their lives and she supported her husband in his career in many ways, her knowledge of French and English being especially useful. It is even thought that it was she who translated the original play by Antonio García Gutiérrez, El trovador of 1836, which became Il trovatore in 1853.