Production of _Il Rinnegato_--Ravelli's Operatic Theory Negotiations with Covent Garden, "Limited"--A Search for a Prima Donna--Failure of Patti's Concerts--Cincinnati Opera Festival of '82--Patti's Indisposition pp. 254-272 CHAPTER XVIII. I Engage Patti--My Military Experience--Influencing Electors--Operatic Joint Stock Company--Objections to English Monopoly--Patti in New York pp. 273-291 CHAPTER XIX. Non-Arrival of Scalchi--General Indisposition--King Kalakau Ennobles Patti--Ravelli Consults his Dog--The Company Vaccinated--Patti Eaten by Mice--Arrival of Albani--Cincinnati Opera Festival of '83--Freedom of the City pp. 292-308 CHAPTER XX. Galassi Distinguishes Himself--Politeness of Prime Donne--English Welcome to Canada--Concert at the White House--Value of Patti's Notes--Phantom Ship Wrecked--Nilsson's Contract--Patti's Contract--Return to England pp. 309-327 CHAPTER I. QUALIFICATIONS FOR THE CAREER OF IMPRESARIO--MY FIRST APPEARANCE AS VIOLINIST--DÉBUT AS A VOCALIST--DIFFICULTIES AS A CRITIC--ENGAGED AT LODI AND VERONA--RADICAL OPERATION ON MY THROAT--I START AS MUSICAL AGENT--MEETING WITH MR. E. T. SMITH--MANAGEMENT OF DRURY LANE. BEFORE beginning my thirty years' career as an operatic manager, I had already had a large and varied experience of music in the character of student, critic, violinist, vocalist, composer, concert director, and musical agent. At the age of fourteen I entered the Royal Academy of Music, where the Principal was at that time Cipriani Potter. I took as my first study the violin, my professor being Watson, under whom I made good progress. Harmony I studied under Lucas. My compositions are limited to two pianoforte pieces and a song, which I published soon after leaving the Academy, where I remained about two years. I made my first public appearance among the first violins at Her Majesty's Theatre, where, during the Jenny Lind seasons of 1848 and a portion of 1849, I played from the same desk as Remenyi, the famous Hungarian violinist. Remenyi, too, shared my rooms, and often kept me up at night by his loud and passionate declamations on the subject of Hungarian independence, and of liberty generally. He had taken part in the revolutionary movement of 1848, and on its collapse had fled for his life to foreign parts. Fortunately, he had his violin to depend upon; and it was in London, I believe, that he first turned his remarkable talent to practical and pecuniary account.