for Tietjens, and a scene in which no fewer than 120 windows should appear in a stage set, from each of which at a given signal (i.e., the Garibaldi hymn) an Italian flag should appear. Mapleson complied: the cantata was performed for one night only. The 1862 season also included Giuglini in the opera Martha. Following an incident in which Mme Tietjens accidentally struck Giuglini on the nose with a drumstick when sounding a gong during a performance of Norma, causing the tenor's nose to bleed on stage, Giuglini conceived a hatred for that opera and swore a solemn oath never to appear in it again. However, during a breakdown in a series of Il trovatore, owing to the indisposition of the contralto, Mapleson was obliged to stage Norma and engaged another tenor, knowing Giuglini's objection, and that this performance was supernumerary to his contract. Having attempted to extort additional fees, Giuglini at the last minute had the rival forcibly divested of his costume backstage, and sang the role himself, but to little financial advantage, and without the drumstick. The 1863 season opened with Il trovatore, and in May was the premiere of Schira's opera Niccolo de' Lapi with Giuglini as Lamberto, Tietjens, Zélia Trebelli and Santley. However the highlight of that season was the first London Faust, launched 11 June at Her Majesty's, in which he took the title role: the opera was thereafter produced at Covent Garden in every year until 1911. The premiere was with Tietjens (Margherita), Trebelli (Siebel), Edouard Gassier (Mephistopheles) and Charles Santley (Valentin), Arditi conducting. (On one occasion Giuglini was hissed for a late appearance in the church scene.) It was given for ten nights in succession, after which Gye opened it at Covent Garden on July 2 with Enrico Tamberlik, and with Mario in the following year. In later productions Mapleson replaced Giuglini in the role with the tenor Alessandro Bettini, and with Sims Reeves. Giuglini again sang The Bohemian Girl, this time with Santley, Vialetti and Louisa Pyne. In 1864, Tietjens and Giuglini performed Lucrezia Borgia at Her Majesty's, in the gala performance in the presence of Garibaldi, and surpassed themselves. They led the cast in a new production of The Merry Wives of Windsor of Nicolai (as Mistress Ford and Fenton), with Bettini, Gassier, Santley and Caroline Bettelheim, which ran for many nights. Both appeared in Buckingham Palace concerts in that