This speech had an immediate effect; and Santley continued his song as if nothing had happened. But for his presence of mind the loss of life would have been most serious. I likewise produced Cherubini's tragic opera, _Medea_; a work considered by musical amateurs one of the finest dramatic compositions ever written. No musician ever exercised more influence on his art than Cherubini. His compositions are of the first authority, so that no musical library, whether of the professor or the amateur, can claim to be considered complete without them. The part of "Medea" was represented by Mdlle. Titiens. In assuming this _rôle_ Mdlle. Titiens certainly added the final touch of lustre to her lyric crown. I need scarcely say the opera was magnificently mounted, even to the smallest detail. It was particularly successful, and still retains its place in the _répertoire_. I was interested to find in what large numbers the relatives and descendants of Cherubini were attracted to my theatre by the announcement of his Medea. Naturally they all expected free admissions, even to great-grandchildren and third cousins. The season was a very successful one. In the autumn I started the regular provincial opera tour, Mario being my principal tenor, vice Giuglini. We commenced in Manchester, where Mario's unrivalled performances in _Faust, Rigoletto, Martha, Ballo in Maschera_, and _Don Giovanni_ attracted crowded houses. We afterwards visited Dublin, proceeding thence to Belfast, Liverpool, etc., terminating, as usual, about Christmas. In the early part of January, 1866, I made a very successful concert tour, giving no less than one hundred and twenty concerts in some seventy cities in sixty successive days, with two very strong parties: Titiens, Trebelli, Santley, Stagno, and Bossi in one; and Grisi, Lablache, Mario, Foli, and Arditi in the other; ending up with a brilliant series of operas with casts combined from the two parties in the northern capital and at Glasgow, where Mdme. Grisi distinguished herself in the _rôles_ of "Lucrezia Borgia," "Norma," "Donna Anna," etc. Thus matters went on until the London season. On each occasion when I visited Giuglini I found no improvement, and it was ultimately decided that a sea trip might benefit him. He, therefore, left London in a sailing ship for Italy. I never saw him afterwards. I need scarcely add that his loss was irreparable. I opened my London season of 1866 early in April, for which I engaged a very powerful Company, including Mdme. Grisi. I announced her engagement in the following terms:--