The committee had tried to get Catalani, but, after pecuniary terms had been arranged, the treaty failed in consequence of a stipulation on her part that several songs should be transposed into a lower key to suit her voice. "The committee had conceded," says the 'Harmonicon,' "to the condition with regard to detached airs, but refused for those which are connected with choruses. Then they tried to get Mme. Pasta, but this was refused, as they could not give her permission to come without materially compromising the interests of the Italian Theatre Royal. Thus disappointed, they entered into negotiations with Mr Braham and other eminent performers, and finally succeeded in obtaining the following assemblage of talent:-- Mr Greatorex, _Conductor_. Dr Camidge, _Assistant-Conductor_. _Principal Vocalists._ Miss Stephens. Mr Braham. Miss Caradori. Mr Vaughan. _Mdlle. Garcia._ Mr Sapio. Miss Travis. Mr Knyvett. Miss Wilkinson. Mr Terrail. Miss Goodall Mr Bellamy. and Mr Phillips. Miss Farrar. Signor di Begnis. A Grand Chorus of 350 voices, and 248 Instrumentalists in the Orchestra." A perusal of the programme brings home to us the change which has taken place in the last eighty years. Handel naturally figured largely, while Mozart was represented by his Jupiter Symphony, Beethoven by his Symphonies in C and D and one of the Leonora overtures. Such names, however, as Pepusch, Spontini, and Salieri have long since disappeared. Again, the style of Festival programme was then of a very mixed, and, as regards some of the numbers, of a very "popular" kind. Festivals of the present day are of a much more serious character. Mdlle. Garcia we find set down for such items as "Gratias" by Gugliemi, "Alma invitta" from "Sigismondo," "O patria" from "Il Tancredi," a terzetto from "Il Crociato in Egitto," and one of her "chevaux de bataille," "Una voce poco fa" from "Il Barbiere." With the York Festival the visit to England was brought to a close, and at the end of the month the Garcia family embarked at Liverpool for New York, where Manuel was to take part in the first American season of Italian Opera. Before following them there, let us seek a glimpse of some of the operatic and theatrical events between the year of Manuel Garcia's first visit to England and his trip to America. In 1816 John Kemble was playing Coriolanus at his London season; Charles Kean was at Drury Lane; and at Covent Garden Mrs Siddons reappeared as Lady Macbeth, while Charles Mathews brought to an end his contract with that theatre.