Long before the theatre opened we had abundant signs of a prosperous season, and as the event drew near money poured in from various sources. We received in private subscriptions as much as £12,000. The booksellers' subscriptions amounted to £29,000 more, and in the course of the season the box-office sales alone brought in another £29,000. Altogether, counting profits from the Floral Hall concerts and sums received for the services of singers at public as well as private concerts, we received during the season of 1869 a grand total of £80,000. On the other hand, we paid away in artists' salaries £22,000; for working expenses (including chorus), £13,000; orchestra, £7,500; sundry charges, £2,000. Our whole expenditure came to £44,000, leaving us a clear profit of about £36,000. Out of my half-share of this profit I had to pay for insurance and poor rates £3,000. Against this Mr. Gye put the use of the theatre, which was his property. By our articles of partnership Mr. Gye had stipulated that he should "take no part in the management of the theatre unless he wished to do so." This wish came upon him after about a fortnight. Our success during this season proved that though two rival Italian Operas can scarcely be carried on without loss on both sides, one Italian Opera can be made the source of very considerable profit. Even, however, with a monopoly there are two things essential to success. The operatic manager who would prosper must appeal to the public with a very strong Company, and with new works. Such casts as we secured for some of the recognized masterpieces of dramatic music could not fail to fill the theatre. Among the new works or revivals produced at the Royal Italian Opera during the season of 1869 may be mentioned: Fidelio, The Magic Flute, Robert le Diable, Cherubini's Medea, Hamlet (first time in England), with Nilsson as "Ophelia," and Don Bucefalo (also first time in England). Medea had before been given at my own establishment with Mdlle. Titiens in the tragic part of the heroine. In Le Prophète, Titiens and Mongini appeared together, Titiens, of course, as "Fidès," Mongini as "John of Leyden." Don Giovanni was played with Titiens as "Donna Anna," Nilsson as "Donna Elvira," and Patti as "Zerlina;" while the part of the dissolute hero was taken by Faure, and that of "Don Ottavio" by Mario.