In this American première of Rossini's "Otello," one of the greatest successes of the season, we find the parts distributed as follows:—
| Otello | Signor Garcia. |
| Iago | Signor Garcia (junior). |
| Elmiro | Signor Angrisani. |
| Doge | Signor Crivelli. |
| Roderigo | Madame Barbieri. |
| Emilia | Signora Garcia. |
| and | |
| Desdemona | Signorina Maria Garcia. |
It must be many years since any operatic version of "Othello" has been performed other than that of Verdi, which was produced in Milan exactly sixty-one years after the performance of Rossini's setting just described. Indeed at the date of this American première, Giuseppe Verdi was but a lad entering his teens.
Another important production of the season was "Don Giovanni," given on May 23, with the elder Garcia in the title-rôle. His son appeared as Leporello, and, as the criticism in 'The Albion' stated four days later: "In the part of Saporello"—the office shines once more in spelling—"the younger Garcia exhibited more musical ability than he has been generally thought to possess. His duet with Don Giovanni in the banquet scene was spirited enough."
Some other portions of this critique read rather quaintly. It will be remembered how the editor of the paper was perturbed after the opening performance of the season at not receiving the "scientific critique, which we are promised from a professor." He is evidently "still harping on my daughter," for one reads with infinite regret that—"To enter into any minute examination of 'Don Giovanni's' scientific merits is beyond our space and purpose"; while later we learn that "Madame Barbiere's taste is pure, and her science considerable."
The critic comes to the regrettable conclusion that "Garcia Senior is not at home in the simple melodies of Mozart," the reason which he gives for this fact being set forth in a delightful bit of phraseology,—"He must have a wide field for display: he must have ample room to verge enough for unlimited curvetings and flourishes."
Maria was able to satisfy this most learned and scientific judge, and we may presume that she found sufficiency of verging-room in Mozart, for we are told, "Mdlle. Garcia's Zerlina, though not so simple and rustic as Fador's (sic), the great Zerlina of Europe, is much more pleasing and fascinating. It was admirably acted, which for a singer is high praise. The celebrated 'Batti, batti,' was never better sung."
"In proportion as she is excellent," the notice concludes, "must we regret that a few nights longer and she will disappear from the public gaze."
Why the good gentleman should have been so perturbed it is a little difficult to see, for the season did not terminate for four months. Perhaps the explanation is that, just as other scientific men declared that the seven days of the World's Creation really meant seven periods, each extending over hundreds of years, so this one in saying "a few nights," took each night to stand for a period of a month. After all, as has been observed in Lewis Carroll's immortal book, it is only a question of who is to be master, the man or the word.
On August 26 we are informed that "'Il Barbieri de Siviglia'"—mark the dazzling array of fresh mistakes in spelling—"was performed last night for the fortieth time without any abatement of attraction."