Giuseppina Ronzi de Begnis and her husband moved to Paris where they sang for the re-opening of the Théâtre Italien in the Parisian premiere of Ferdinando Paër's dramma semi-serio "I Fuoriusciti di Firenze" on 20 March. The opera received a good review in "Le Moniteur Universel", and the "Journal de Paris" praised Giuseppe for his Uberto and Giuseppina for her Isabella. In the meantime Rossini had been informed that the de Begnises had been secured for "La gazza ladra". The prospects were encouraging and on 5 May the couple sang in Pietro Alessandro Guglielmi's "La pastorella nobile". Positive reviews greeted the couple during the
La Scala into a costume. As with most of the theatres at that time, La Scala was also a casino, with gamblers sitting in the foyer. Conditions in the auditorium, too, could be frustrating for the opera lover, as Mary Shelley discovered in September 1840: At the Opera they were giving Otto Nicolai's "Templario". Unfortunately, as is well known, the theatre of La Scala serves, not only as the universal drawing-room for all the society of Milan, but every sort of trading transaction, from horse-dealing to stock-jobbing, is carried on in the pit; so that brief and far between are the snatches