During this period in Paris, Verdi was to work on and complete the score for Jérusalem.
From Paris, he fulfilled the obligation to write and oversee the production of 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 on to London to make sure that Jenny Lind, about whom rumours of her reluctance to come to England abounded, was already present and ready to go to work.
 While Verdi remained in the city, Mary Jane Phillips-Matz in her massive biography of the composer, speculates that Verdi saw her in the three days he was present,.

On 27 July 1847, having left London, Verdi returned to Paris.
To friends in Italy, he had written from London (or wrote from Paris) about "being able to lead the life I wish" and "intend[ing] to stay a month in Paris, if I liked it".
 With the exception of a return to Italy after the 18 March 1848 bloody uprising in Milan against the Austrians (when the composer was away from early April to mid-May) and the period of overseeing the rehearsals of La battaglia di Legnano in Rome (from before Christmas 1848 to early February 1849 after its premiere on 27 January 1849), Verdi remained in Paris.

However, as far as the relationship with Strepponi proceeded, Phillips-Matz recounts that Verdi was "living in an apartment around the corner from Strepponi's house", that the news of this had reached Italy ("Verdi had been seen chez Strepponi"), and that, in writing the music for Jérusalem, he had received her help to the extent that a handwritten love duet in the composer's autograph score contains alternative lines in her handwriting and in his.
This is described by British music critic Andrew Porter as "one of the more romantic discoveries of recent years".

Baldini tells us that "at the end of 1847 Verdi rented a little house in Passy, and went to live there with Giuseppina", but Phillips-Matz does not go so far, noting only that "he may have moved into her apartment or a separate apartment in her building", but later does confirm the move to Passy, dating it to June 1848.

However, the couple were to remain together for many years, and when the time came to leave Paris, Verdi left in late July and "made straight for Busseto to wait for her there", while it appear that Strepponi visited her family in Florence and Pavia before joining him.
During this period in Paris, Verdi was to work on and complete the score for Jérusalem. From Paris, he fulfilled the obligation to write and oversee the production of 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 on to London to make sure that Jenny Lind, about whom rumours of her reluctance to come to England abounded, was already present and ready to go to work.  While Verdi remained in the city, Mary Jane Phillips-Matz in her massive biography of the composer, speculates that Verdi saw her in the three days he was present,.
On 27 July 1847, having left London, Verdi returned to Paris. To friends in Italy, he had written from London (or wrote from Paris) about "being able to lead the life I wish" and "intend[ing] to stay a month in Paris, if I liked it".  With the exception of a return to Italy after the 18 March 1848 bloody uprising in Milan against the Austrians (when the composer was away from early April to mid-May) and the period of overseeing the rehearsals of La battaglia di Legnano in Rome (from before Christmas 1848 to early February 1849 after its premiere on 27 January 1849), Verdi remained in Paris.
However, as far as the relationship with Strepponi proceeded, Phillips-Matz recounts that Verdi was "living in an apartment around the corner from Strepponi's house", that the news of this had reached Italy ("Verdi had been seen chez Strepponi"), and that, in writing the music for Jérusalem, he had received her help to the extent that a handwritten love duet in the composer's autograph score contains alternative lines in her handwriting and in his. This is described by British music critic Andrew Porter as "one of the more romantic discoveries of recent years".
Baldini tells us that "at the end of 1847 Verdi rented a little house in Passy, and went to live there with Giuseppina", but Phillips-Matz does not go so far, noting only that "he may have moved into her apartment or a separate apartment in her building", but later does confirm the move to Passy, dating it to June 1848.
However, the couple were to remain together for many years, and when the time came to leave Paris, Verdi left in late July and "made straight for Busseto to wait for her there", while it appear that Strepponi visited her family in Florence and Pavia before joining him.
Jérusalem