The close of 1852 saw his first appearance on the operatic stage at Mannheim; while between the years 1857 and 1859 he was engaged at the Opéra Comique in Paris, making especial success as the Seneschal in "Jean de Paris." In 1862 he settled in Hamburg as director of the Philharmonic Concerts there and of the "Sing-akademie," a position which he held till the end of the 'Sixties. During this period he took many concert tours with Mme. Schumann, Brahms, and Joseph. In 1870 he was back in England, and stayed till the close of 1871, singing once more at the Philharmonic, Crystal Palace, and other leading concerts. Three years after this he went to live in Berlin, to take direction of the vocal society founded by Stern. Thence he migrated to Frankfort as professor of the Conservatorium, presided over at the time by Raff; and it was in Frankfort that he spent the rest of his days. His principal pupils were van Rooy, Scheidemantel, and George Henschel; and as a teacher he was generally acknowledged to be the foremost of his time in Germany, as Mathilde Marchesi was in France. It is therefore a matter of some note that during the years in which Manuel Garcia was himself the finest teacher in England, he should, through these two pupils, have had his banner thus upheld upon the Continent. Among the most promising of Garcia's earliest pupils at the Royal Academy was Kate Crichton, who came to study under him at the commencement of 1849--the year in which Sims Reeves made his operatic _début_ and music-lovers mourned the death of Chopin. Miss Crichton soon showed that the maestro had not left behind him in Paris his cunning in the training of voices. As the time approached at which the idea of her _début_ was taking shape, the advice of Garcia upon the point was sought by her father. The letter in which was embodied his reply may be quoted as showing the deep interest and sound advice which was ever displayed in his relations with his pupils:-- MONSIEUR,--Veuillez avoir la bonté d'excuser le retard de ma réponse; une indisposition en a été la cause. Je regrette que le manque de courage tienne en échec les moyens de Mademoiselle Browne et comme Mr Hogarth je juge que l'exercice fréquent devant le public est le meilleur moyen de vaincre sa peur. Mais aussi je pense que les premiers essays (_sic_) de Mademoiselle Browne vont être fort incomplets et par une sorte dans l'usage de procédés qu'elle ne domine pas encore complétement et par la terreur que bien a tort lui inspire le public. Or pensez vous qu'il faille donner à ses premiers essays (_sic_) tout le rétentissement possible, ou ne trouvez vous pas qu'il serait plus prudent de les faire à petit bruit laissant à la débutante le temps d'acquerir l'applomb (_sic_) qui lui manque avant de lancer son nom à la grand publicité.