How strangely reads the repertoire of the representations given at the King's Theatre during the next months! Two only are heard at Covent Garden nowadays, and those but rarely--"Don Giovanni" and "II Barbiere," which latter was given with Mme. Vestris as Rosina, di Begnis as Bartolo, Benetti as Figaro, and Garcia in his old part of the Count. One may perhaps add to the number of those still heard occasionally the "Nozze di Figaro"; but this is only given at the most attenuated intervals. As for the rest, what can we say of Zingarelli's "Romeo e Giulietta" and Rossini's "Otello," in which Mme. Pasta makes her _rentrée_? Add to these "Ricciardo e Zoraide," "Semiramide," "Turco in Italia," "La Donna del Lago," and "Il Fanatico per la Musica" which Catalani chooses for her reappearance. But there are other musical events worthy of attention during these months. We read that "Master Liszt, the young German pianist, had a concert at the Argyll Rooms, when he exhibited talents that astonished all the leading professors who were present." Further, we find Signor Rossini giving two subscription concerts at Almack's Rooms,--how strangely the names of the fashionable concert rooms of the past sound to us now!--"Tickets two guineas." They are announced "To Begin at Nine o'clock"; while the composer has the assistance of the leading operatic artistes of the day--Catalani, Pasta, Vestris, Garcia, di Begnis, _et hoc genus omne_. But what is of especial interest is the fact that Rossini not only conducted, but _sang_. He gave "a cavatino (_sic_) from Figaro," and a duetto with Mme. Catalani, "Se fiato in corpo avete" by Cimarosa. The second of these subscription concerts, given on June 9, 1824, is worthy of our attention, for we find "Mdlle. Maria Garcia" making apparently her first appearance in London, taking part with her father in a duet, "Di Caprici," and adding a solo, "Nacqui al'affano," both by Rossini. With the close of the London season the elder Garcia returned to Paris. Here his "Deux Contrats" was performed at the Opéra Comique. But the early autumn of this year is principally memorable for the fact that he allowed his daughter to make her first appearance in Paris as a professional singer,--the concert in which she took part being given at a musical club which he had just established in that city. Two months later the entire family went to London, and here Maria's musical education was continued in the singing-class which her father had established. The elder Garcia was again engaged as first tenor at the Royal Opera, his salary having now risen from £260 (1823) to £1250. Here he continued to gain still greater fame as a teacher, while his fertility as a composer was shown by two Italian operas, "Astuzia e Prudenza" and "Un Avertimento." On June 7, 1825, Maria had the opportunity of making her _début_ in London at the King's Theatre, as Rosina in "Il Barbiere," under the directorship of Mr Ebers.