Despite the popularity and dissemination of Handel's music, changes in taste resulted in Samuel Arnold staging a revival of "Giulio Cesare" in 1787 as a "pasticcio" constructed from the original opera and other operas by Handel. In the accompanying libretto Arnold stated, "The original, however, offering a great number of incongruities, both in the language and the conduct, several material alterations have been thought absolutely necessary, to give the piece a dramatic consistency, and to suit it to the refinement of a modern audience,"  In the summer of 1724, after the first run of "Giulio Cesare" had finished, the London cast gave a private concert performance in Paris at the residence of Pierre Crozat, retired royal treasurer and patron of the arts. Prior to the performance the "Mercure de France" had reported that Italians in the audience in London had rated the opera as a masterpiece. The trip, which lasted from July to September, had initially been planned for the previous year when, following similar favourable newspaper reports, fully staged performances of "Ottone" at the Paris Opera had been envisaged, with financial support from Louis XV. In the event, these plans were abandoned, and Ottone was also performed as a private concert. Senesino had fallen out with the company and Anastasia Robinson could not participate because of the complications in her private life, so a new female singer was brought in to fill the gaps they created, with Durastanti doubling some parts. Within Handel's lifetime, the opera was also performed in Germany. In Braunschweig it was first performed in 1725 with revivals in 1727 and 1733. The opera was sung wholly in Italian using the 1724 London edition, but with some of Cornelia's arias altered. Ballets were also inserted for Egyptians at the end of act 1 and for eunuchs and concubines at the end of act 2. In Hamburg, where Handel had himself been a violinist in the opera orchestra, the arias were sung in Italian but the recitatives were translated into German by the Englishman Thomas Lediard. He also designed the stage set. The score was modified and augmented by the musician J. G. Linike: he added orchestral accompaniments in some of the recitatives and introduced six ballet scenes, with one for Cleopatra's attendants during the Parnassus scene and a grand ballet before the final chorus.