In the first and subsequent performances of "Il Barbiere" his artistic singing of the air "Largo al factotum" made a considerable stir in New York, and his popularity was thereby considerably increased, but from the criticisms it is obvious that Manuel Garcia would never have been an operatic artist of the first rank, and, as we shall see, he was to find his _métier_ in another field of music. On the last day of the year we read in 'The Albion' that "The celebrated opera of 'Tancredi' will be produced at the Park Theatre this evening." The paragraph which followed immediately after the above announcement recalls the mixed receptions which the immortal Kean sometimes experienced when he made his earlier appearances on the American stage:-- "Mr Kean has returned from Boston. The managers of the Boston theatre declare in an address to the public that they had no reason whatever to suppose that any serious or organised opposition existed against Mr Kean until 4 o'clock of the evening of his appearance. "That amiable lady and excellent actress, Mrs Hilson, takes a Benefit at the Park on Wednesday, on which occasion Mr Kean has offered to perform in a favourite part." In the next issue, January 7, 1826, we find the criticism of the performance of "Tancredi." One of the company had apparently discharged the duties of scene-painter for the production, and with success. "'Tancredi' has been performed twice to crowded houses by Senior (_sic_) Garcia and his admirable troupe. Nothing could exceed the enthusiasm with which it was received. The scenery, painted by one of the troupe, is of matchless vigour and beauty, displaying magnificent ruins, paintings, &c., so peculiar to modern Italy. "The corps has received a most efficient auxiliary in the person of Madame Barbiere (_sic_). Signorina Garcia takes the part of Tancredi. The piece, from its own intrinsic merits and the excellent manner in which it is performed, cannot fail to have a good run." Evidently the Italian language was not a strong point in the office of 'The Albion.' We have already seen how "Il Barbiere" figured as "Il Barbiera," and Madame Barbieri as "Barbiere," while Signor Garcia appeared as "Senior." A still stranger mistake occurred in the notice of the _première_ of "Otello" on February 11:-- "Rossini's opera of 'Otella' (_sic_) has been produced by the Italian, troupe. It was a most fortunate effort, and the piece, we trust, will have a good run. Signor Garcia astonished the audience with his masterly powers, many of whom had no conception that so much tragic effect could be given in recitative. "After the performance Signor Garcia was addressed by Mr Kean behind the scenes, who complimented the highly-talented vocalist on the great talent he had that night displayed, and expressed in the warmest terms the gratification experienced in listening to him. Several of the troupe were present on Wednesday to see Mr Kean in the part of Othello."