The part of the dissolute "Don" was superbly rendered by Signor Padilla, the eminent Spanish baritone, whose appearance reminded me forcibly of Mario. He had just returned from Prague, where Mozart's centenary had been duly celebrated, the whole of the arrangements having been left in his hands. He told me many interesting stories concerning his researches in the museums and libraries that had been placed by the Government at his disposal during his stay there, which extended over some five or six weeks. He succeeded in ascertaining the correct date of the original production of _Don Giovanni_ at Prague. The authorities in Paris insisted that it had been first performed on the 27th October, 1787, and they even went so far as to regulate their centenary performance by that day. Signor Padilla, however, obtained the original play-bill from the National Library, in which it was clearly set forth that _Il Don Giovanni_, _Ossia_, _Il Dissoluto Punito_ was first produced on the 29th day of October, 1787. In my representation the absurd scene of "Don Giovanni" surrounded by a lot of stage demons flashing their torches of resin all over him was, of course, omitted. He simply went below in the hands of the Uomo di Pietra. This reminds me of an amateur operatic performance we once had at Woolwich, in which I took part for the benefit of some regimental charities. I was dining at my Club with some friends when the performance was first suggested. It was decided to give _Rigoletto_, in which I was asked to undertake the part of the Duke; this to be followed by the last act of _Don Giovanni_. I, of course, said "Yes," as I usually do to everything; and before the dinner was over so many bets had been made on the question whether or not I would appear as the "Duke of Mantua" that, on making up my book, I found I must either play the arduous part or pay some £300 or £400. I determined on the former course. I, of course, kept the matter a profound secret from all connected with my theatre. On the night of the performance, on the rising of the curtain, I was horrified in the midst of my first aria at seeing Mdme. Titiens, Mdme. Trebelli, Sir Michael Costa, and Adelina Patti amongst the audience; and it required some nerve to pull myself together and continue the part. I succeeded, however, in obtaining the customary encore for the "La donna è mobile" and for the quartett; and on the whole I believe I acquitted myself well. So, at least, said the notices which, to my astonishment, appeared next morning in the daily papers.