In the consideration of his career, this point must ever be borne in mind.
Sims Reeves was not only a singer, but he was a fine and well-instructed musician, and any opinion that he might put forward was entitled to respect, not only from the singer's point of view, but that of a musician whose erudition was unquestionable.
So, when he raised his voice against the abominable pitch that had been introduced into the country through the instrumentality
of a foreign, cosmopolitan musician, he had the weight behind him, not only of a distinguished singer, but of a musician perfectly able to maintain the position he had taken up, on grounds both reasonable and logical.
The fact that his opinion, however strongly put forward, had no influence, is not a matter for surprise. In that Victorian period, the English musician was practically an alien in his own country.
Although Sims Reeves was destined to become, perhaps, the greatest of oratorio singers, his earliest successes were made in opera. His "first appearance on any stage"[31] was at Newcastle, when he appeared as the "Gipsy Boy" in "Guy Mannering."
He was soon found, as would naturally arise, in London; Macready, the theatrical monarch of those days, and whose scene of operations was Drury Lane Theatre, attracting him.
Here, on the first occasion that presented itself, he made a success, that those gifted with any sense of perception, could easily see, indicated a great career, and the rising of a great sun in the firmament of music.
It was in Purcell's "King Arthur," and the particular number that was to make him famous was "Come, if you dare." In this connection, it is amusing to note the clashing of the artistic and managerial temperament; both, probably, at their highest expression. Macready insisted that the singer should address his adjuration to the warriors whom he was facing,
with his back to the audience. The singer held an entirely opposite view, and wished to sing to the public. The fight was keen, and Sims Reeves apparently gave way.