The Barber of Seville The most serious distortion has been the upward transposition of the role of Rosina, turning her from a lustrous alto into a pert soprano." However, it has also been noted that Rossini, who frequently altered his music for specific singers, wrote a new aria for the second act for Joséphine Fodor-Mainvielle, a soprano who had sung Rosina in the 1818 London premiere, and sang the new aria c. 1820 at the Théâtre-Italien in Paris, where it was published. The singing lesson in act 2 has often been turned into "a show-stopping cabaret." Adelina Patti was known to include Luigi Arditi's
Who Wrote The Dead Sea Scrolls? Hartmut Stegemann. "Qumran und das Judentum zur Zeit Jesu" 84 (1994): 175-94 as basing "his support of the Essene hypothesis of factors of hierarch, initiation rites, community of goods, ritual baths, a common meal and views on marriage as well as calendar." They then refer to the alternative estimate of Golb, "that the scrolls came from Jerusalem to a fortress in Qumran during the siege of Jerusalem around 70 CE Who Wrote The Dead Sea Scrolls? Who Wrote The Dead Sea Scrolls?: The Search For The Secret Of Qumran is a book by Norman Golb which intensifies the debate over