In the spring of 1823 the elder Garcia was again appearing at the King's Theatre, and during the season he founded his famous school of singing in London. It was at this time, too, that he first began seriously to take Maria's musical training in hand, since she was now approaching her fifteenth birthday. His daughter soon showed the individuality of her genius, in spite of a certain fear inspired by her father's somewhat violent disposition.
He made his reappearance at the King's Theatre in May in Rossini's "Otello," given with the following cast:—
| Otello | Signor Garcia. |
| Desdemona | Mme. Camporese. |
| Elmiro | Signor Porto. |
| Roderigo | Signor Curioni. |
| Iago | Signor Reina. |
| Emilia | Signora Caradori. |
| Doge | Signor Righi. |
In speaking of his return to London, the 'Harmonicon' tells us: "Garcia's voice has an extensive compass and considerable power, and is round and clear. Its flexibility is remarkable."
On June 5 we find the tenor taking part in the first performance of Rossini's semi-serious opera, "Ricciardo e Zoraide," with this cast:—
| Agorante | Signor Garcia. |
| Ricciardo | Signor Curioni. |
| Ernesto | Signor Reina. |
| Ircano | Signor Porto. |
| Zoraide | Mme. Camporese. |
| Zomira | Mme. Vestris. |
| Fatima | Mme. Graziani. |
Four weeks later he is appearing at the première of another of Rossini's works with the strange title, "Matilde di Shabran e Corradino, ossia Il Trionfa della Belta," with the principal parts distributed thus:—
| Matilde di Shabran | Mme. Ronzi di Begnis. |
| Corradino | Signor Garcia. |
| Isidoro | Signor di Begnis. |
| Raimondo | Signor Reina. |
| Edvardo | Mme. Vestris. |
| Contessa d'Arca | Signora Caradori. |
From all this, it will be seen that Manuel Garcia lived in a musical world day and night. Awake or asleep, music and musicians surrounded the boy.