Once more, only a few weeks ago, I stood in the presence of Mr. Registrar Hazlitt, and, as in the days of Sir Michael Costa's disputed cheque, had Mr. Russell Gole by my side. Once more, too, when an order of bankruptcy was impending over me it was withdrawn partly through the instrumentality of my solicitor, but mainly, of course, through the goodwill of my creditors, who subscribed among themselves sufficient money to pay into Court a sum which was at once accepted in liquidation of all claims. I am generally regarded and have got into the habit of looking upon myself as a manager of Italian Opera. But, accepting that character, I do not think I can be fairly accused of exclusiveness as towards the works of German or even of English composers. Nor can I well be charged with having neglected the masterpieces of the lyric drama by whomsoever composed. For a great many years past no manager but myself has given performances of Cherubini's _Medea_. _Fidelio_ is a work which, from the early days of Mdlle. Titiens until my last year at Her Majesty's Theatre, with Mdlle. Lilli Lehmann in the principal part, I have always been ready to present. I was the first manager to translate Wagner's _Tannhäuser_ and _Lohengrin_ into Italian, and the only one out of Germany who has been enterprising enough to produce the entire series of the _Ring des Nibelungen_. As regards English Opera, Macfarren's _Robin Hood_ and Wallace's _Amber Witch_ owe their very existence to me. It was I who, at Her Majesty's Theatre in 1860-61, brought out both those works, which had been specially composed for the theatre. I myself adapted Balfe's _Bohemian Girl_ to the Italian stage, and in the course of my last provincial tour I gave for the first time in Italian, and with remarkable success, the _Maritana_ of Wallace.