Manuel García (tenor)

Between 1819 and 1823, he lived in Paris, and sang in operas such as The Barber of Seville, Otello, and Don Giovanni, often appearing at London's King's Theatre too.

Da Ponte particularly insisted on the company billing Don Giovanni, of whose libretto he was the author, and Mozart's opera was given its first American unabridged performance on 23 May 1826 in the presence of its librettist, with García singing the title role, la Briones as Donna Elvira, Maria as Zerlina, and Manuel Jr. as Leporello.

[5] In 1836, Franz Liszt wrote a Rondeau fantastique sur un thème espagnol, S, 252, for piano, based on García's song "El contrabandista".

According to James Radomski, "García's dynamic perfectionism left its impact on three continents and his legacy, in the hands of his children, was carried into the 20th century".

According to John Potter, it was mainly after coming to Italy in 1812 and meeting “the highly respected tenor and teacher Giovanni Ansani that he acquired the skills that would enable him to cope with Rossini.

Ansani taught him how to project, and perhaps how to achieve the heavier sound that Mozart had recognized in all Italian singers as long ago as 1770, and presumably gave him the pedagogical rigour that would enable him to teach so authoritatively”.

[10] García was also able to master falsetto vocal phonation to such a point that, in a tonadilla of his, El poeta calculista, he could perform a duet with himself, where he sang both the tenor and the soprano parts.

[2] The cast featured Shirin Eskandani (Sandrina), Kyle Oliver (Berto), Joshua Sanders (the Count), Rob McGinness (Don Fabio), Madison Marie McIntosh (Ernesta), and Sean Christensen (Menico), with music director Timothy Cheung at the piano.

The following is a selected list (mainly drawn from the L'Almanacco di Gherardo Casaglia) which intends to note significant moments in Manuel García's career after his arrival in Italy.