Embrace—Law-suits Interminable—Dissolution of Partnership—Return to Drury Lane—Arrival of Albani—Début of Cainpanini—The Annual Onslaughts of Mr. Gye

Adelina's Successor—A Prima Donna's Marriage Negotiations—Pounds v. Guineas—Nilsson and the Shah—Production of Lohengrin—Salvini's Performances and Profits—Marguerite Chapuy—Irony of an Earl

The National Opera-house—Foundation Difficulties—Primæval Remains—Titiens Lays the First Brick—The Duke of Edinburgh the First Stone—The Opera and Parliament—Our Recreation Rooms

First Visit to America—Making Money out of Shakespeare—Chatterton's Secret Agents—Bidding for Her Majesty's Theatre—Illness of Titiens—Gerster's Success—Production of Carmen

First American Campaign—Difficulties of Embarkation—Concert on Board—Dangerous Illness of Gerster—Opera on Wheels—The "Dressing-room Row"—A Learned Throat Doctor—Gerster Sings before her Judge—The Pianoforte War—Our Hurried Departure

Reception of a Tenor—Belocca and Lady Spencer—Marimon's Superstitions—Her Lovesick Maid—An Encouraging Telegram—Marimon in the Cathedral—Disappearance of a Tenor

Sir Michael and his Cheque—Six Minutes' Bankruptcy—Success of Lohengrin—Production of Mefistofele—Return to New York—Lohengrin under Difficulties—Elsa's Tails—Cincinnati Opera Festival

Production of Il Rinnegato—Ravelli's Operatic Theory Negotiations with Covent Garden, "Limited"—A Search for a Prima Donna—Failure of Patti's Concerts—Cincinnati Opera Festival of '82—Patti's Indisposition

I Engage Patti—My Military Experience—Influencing Electors—Operatic Joint Stock Company—Objections to English Monopoly—Patti in New York

Non-Arrival of Scalchi—General Indisposition—King Kalakau Ennobles Patti—Ravelli Consults his Dog—The Company Vaccinated—Patti Eaten by Mice—Arrival of Albani—Cincinnati Opera Festival of '83—Freedom of the City

Galassi Distinguishes Himself—Politeness of Prime Donne—English Welcome to Canada—Concert at the White House—Value of Patti's Notes—Phantom Ship Wrecked—Nilsson's Contract—Patti's Contract—Return to England

CHAPTER I.

BEFORE beginning my thirty years' career as an operatic manager, I had already had a large and varied experience of music in the character of student, critic, violinist, vocalist, composer, concert director, and musical agent. At the age of fourteen I entered the Royal Academy of Music, where the Principal was at that time Cipriani Potter. I took as my first study the