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. On the night, however, he adopted an attitude that was not foreseen; pacing the stage sideways, he sang with his voice thrown at the audience, and threatening looks at the "supers," who were amazed at such an exhibition of liberty, and made a success that was not only great, but assured the management of a satisfactory issue to the adventure. Macready, nevertheless, fined him [L]5 for disobedience! He was from this moment recognised as a great singer. Strong, however, in the consciousness of unusual gifts, he determined to test his powers on the Continent, and went to Paris. After a short stay there, he proceeded to Italy, where, after a few lessons from Mazzucato, he made his appearance as "Edgardo" in "Lucia di Lammermoor." His success was great. The Italians, who have an abnormal love of the tenor voice, received him with acclamations, and his tour through the Italian cities was a triumphant progress. On his return to England, he was received as an "Italian" singer, and doubts were expressed as to his ability to sing oratorio music. His first appearance in England, after his foreign experiences, was, again, in opera, as "Edgardo." Berlioz was conducting, and wrote thus: "Reeves has a beautiful voice, and sings as well as it is possible to sing in this frightful English language." His first appearance in oratorio was made on February 10th, 1848, at Exeter Hall, in Handel's "Judas Maccabeus." All doubts were soon allayed as to his ability to interpret Handel's music. It had been generally expressed that his success in opera made it improbable that he could succeed, to an equal degree, in gaining the affections of the English people in oratorio, their most loved medium of expression in music. His success was immediate and triumphant. At the conclusion of "Sound an alarm," a scene of enthusiasm occurred that had never, previously, been known at an oratorio performance. It set a mark on his career.