Top floor. Bottom floor. "Manrico" ... Mongini ... Giuglini. "Conte di Luna" ... Aldighieri ... Everardi. "Azucena" ... Alboni ... Borghi-Mamo. "Leonora" ... Grisi ... Titiens. The singers were alarmed, as the matter became serious. This project, however, like previous ones, I ultimately succeeded in setting aside. I pleaded that the preparations for the production of Oberon, now resolved upon, needed all my attention. Benedict, the favourite pupil of Weber, had undertaken to adapt the famous opera for the Italian stage by introducing recitative and excerpts from some of Weber's other works, whilst Planché, the author of the libretto, undertook the _mise en scène_. A really grand performance took place, with the following cast of characters:-- "Sir Huon," Mongini; "Scerasmin," Everardi; "Oberon," Belart; "Fatima," Alboni; "Rezia," Titiens. Despite the artistic successes of the season, matters, as usual with operatic managers, did not go well in a financial sense. This, in a great measure, was to be accounted for by the drain on our exchequer caused by Mr. Smith's numerous outside speculations; for the receipts from the various establishments were all lumped into one banking account. On one occasion I recollect having a deal of difficulty with the Sheriff's officers, who had got possession of the wardrobes. We were on the point of producing the _Huguenots_, and the whole of the dresses for that opera were under ban. One afternoon Smith came in; and after some little time it appeared that the officers had agreed not to take the _Huguenots_ until we had had two performances out of it. In fact, there was always some trouble going on, and it was with the greatest difficulty that we got through the season. In the Boulogne contracts Lumley's artists were ceded not only for a summer, but also for an autumn season at Her Majesty's. As, however, they were to sing but three times a week, it occurred to me that English opera might be tried with advantage on the alternate nights. Arrangements were accordingly entered into, through the kindness of Mr. Thomas Chappell, with Mrs. L. Sherrington, Mr. Sims Reeves, and Mr. Santley. Charles Hallé was at the same time engaged as conductor. Negotiations were also entered into with Macfarren for the production of an English work entitled _Robin Hood_, the libretto by Oxenford. The opera met with very great success, so much so that the chief attentions of the public were directed to the evenings on which _Robin Hood_ was performed. I then opened negotiations with Vincent Wallace to prepare an opera to follow, entitled the _Amber Witch_, libretto by Chorley, in which Mr. Sims Reeves, Mrs. L. Sherrington, Santley, Patey, and others appeared.