Crusade of 1095–1099. Characters' names changed from Italian to French and one, Arvino (who was renamed as the Count of Toulouse, though elements of his character were given to the principal tenor role, Gaston) was now a baritone instead of a tenor. Several roles present in the original version were deleted, including the leading tenor role of Oronte. In the restructured libretto, the central romance is given more prominence, and a happier ending. In addition, Verdi added a standard ballet and new music, but re-shaped much of the structure by removing inappropriate material he felt to be weak. As musicologist Roger Parker notes, "only a few of the original numbers [remain] in their former positions." Verdi himself described the new work as having "transformed [I Lombardi] out of recognition". Verdi in Paris, July 1847 to July 1849 During this period in Paris, Verdi was to work on and complete the score for Jérusalem. From Paris, he fulfilled the obligation to write the opera Il corsaro from a libretto by Francesco Maria Piave which took place in Trieste in October 1848. Also, he worked with Salvadore Cammarano on two librettos, one for La battaglia di Legnano (then attend its January 1849 Rome premiere), the other being Luisa Miller which was presented in Naples in December 1849 after Verdi's return to Italy. Many writers, including Baldini and Frank Walker, have speculated on supposed relationships which Verdi, a man then close to (and then in) his thirties, might have had (or did have) with women in the years following his first wife's death. However, the only real evidence, visible in Walker's The Man Verdi and Baldini's The Story of Giuseppe Verdi, relates to Giuseppina Strepponi, the singer who Verdi first encountered at the time he was writing Nabucco in 1842. She sang the first Abigaille, and continued on and off with that role in spite of her declining voice up to her retirement and move to Paris in October 1846 where she became a singing teacher in November and also planned a concert of Verdi's music for the following June. It is known that the two had conducted friendly correspondence over several years and that Strepponi had offered various pieces of advice to the composer. As is known, Verdi and Emanuele Muzio had arrived in Paris on 2 June 1847 en route to London for I masnadieri, and the composer had sent Muzio