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- Review: Der Ring des Nibelungen , Royal Opera House Covent Garden
- "Some of the best moments in this Ring came from the interplay between the characters. There was strikingly good singing from Eva-Maria Westbroek and Simon O’Neill as Sieglinde and Siegmund, even if he is short on romantic warmth for his role." Richard Fairman, Financial Times, 12 October 2007
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2008
- Mahler - Das Lied von der Erde
- Glasgow, BBC Scottish Symphony Orchestra, 24 April 2008
- "Mahler's great Song of the Earth was out of this world, in several respects: for the power-driven heldentenor singing of Simon O'Neill, battering through Runnicles's explosively decisive and full-bodied accompaniment in the opening song" MICHAEL TUMELTY, The Herald, Glasgow, 28 April 2008
- Review: Die Walküre, Opéra National du Rhin, Strasbourg
- "The main reason to catch this Walküre, apart from Letonja, is Simon O’Neill’s thrillingly sung Siegmund. His acting could be better but such a clean-cut, powerful tenor should mean a full diary for a decade at least. A Siegmund of such steady, lyrical strength is rare indeed." Francis Carlin, The Financial Times, 21 April 2008
- Review: Die Walküre, Opéra National du Rhin, Strasbourg
- "On gardera tout particulièrement en mémoire le premier acte car il fut absolument magnifique musicalement grâce aux trois chanteurs qui s’y illustrent. Entre eux, le Siegmund de Simon O’Neill est inoubliable et sans doute l’un des plus beaux Siegmund que l’on ait entendu depuis fort longtemps. Voix pointue sans être nasale (ce qu’est par exemple un peu trop Gary Lakes), homogénéité confondante avec un aigu qui semble à toute épreuve, ligne somptueuse, acteur investi et convaincant, tiendrait-on là LE ténor wagnérien de sa génération ? Ses engagements à Covent Garden et au MET le laissent présager en tout cas... Bravo à l’Opéra National du Rhin d’avoir trouvé un artiste d’une si grande valeur qui nous a offert une prestation absolument exceptionnelle et nous pesons nos mots." Pierre-Emmanuel Lephay, Forum Opera, 25 April 2008
- "Between them, Siegmund Simon O'Neill is unforgettable and without doubt one of the most beautiful Siegmund that we have heard for a very long time. Voice pointed without being nasal (eg what a little too Gary Lakes), homogeneity with a daunting acute that seems foolproof, sumptuous line, invested and convincing actor, there would be THE Wagnerian tenor of his generation? Its commitments to Covent Garden and the MET suggest in any case ... Congratulations to the Opera National du Rhin to have found an artist of such great value that we provided a service absolutely exceptional, and we weigh our words." Pierre-Emmanuel Lephay, Forum Opera, 25 April 2008
- Review: Die Walküre, Opéra National du Rhin, Strasbourg
- "...la distribution, jeune, vaut pour la découverte du Néo-zélandais Simon O’Neill, Siegmund d’une superbe santé, timbré très haut, parfois nasal dans la vitesse du débit mais d’un réel héroïsme, d’aigu conquérant et d’une attention à bien chanter qui en font l’incarnation la plus probante de la production." Yannick Millon, Altamusica.com, 24 April 2008
- Review: Die Walküre, Opéra National du Rhin, Strasbourg
- "Der - auch körperlich - stämmige Heldentenor von Simon O'Neill glänzt als Siegmund durch unerschütterliche Stabilität und attraktive Gestaltung; der gebürtige Neuseeländer schaffte seinen Durchbruch vor reichlich zwei Jahren am Covent Garden." Eckhard Britsch, Mannheimer Morgen, 22 April 2008
- Review: Die Walküre, Opéra National du Rhin, Strasbourg
- "Comment enfin ne pas encenser le couple adultérin Siegmund-Sieglinde, campé par Orla Boylan et Simon O’Neill, les deux grandes révélations de la soirée. Peut-être moins à l’aise scéniquement que Charbonnet et Howard, ils n’en sont pas moins remarquables vocalement, pour ne pas dire impressionnants de facilité. O’Neill tout en puissance, donne un Siegmund rageur et épris de revanche sur la vie, prêt à tout pour vivre son bonheur à peine né avec sa sœur-amante, comme animé par un feu intérieur que rien ne semble devoir arrêter hormis la volonté des dieux. La Sieglinde de Boylan se voulait à l’opposé, tout en sensibilité, en féminité et surtout en dignité malgré la souffrance de la vie passée avec Hunding. Une fois les deux amants enfin seuls et libres de s’aimer pour un temps, la magie opére instantanément, le temps semble suspendu pour ne reprendre son vol qu’à la fin de l’acte I, qui nous semble une réussite rarement égalée. Enfin nous conclurons cette vue d’ensemble de la distribution vocale en précisant que tous font preuve d’une parfaite maîtrise de la langue de Goethe. Encore un autre point positif qu’il fallait notifier." Bertrand Balmitgère, ClassiqueInfo.com, 23 April 2008.
- Review: Die Walküre, Opéra National du Rhin, Strasbourg
- "Simon O’Neill mobilisierte für den Siegmund mit seinem kompakt glänzenden Tenor gewaltige Kraft." Prof. Kurt Witterstätter, Klassic.com, 21 April 2008
- Review: Die Walküre, Opéra National du Rhin, Strasbourg
- "Piuttosto diseguale anche la compagnia di canto con punte di eccellenza solo nel Siegmund dal bello slancio lirico di Simon O'Neill." Stefano Nardelli, Il giornale della Musica, 21 April 2008
- Review: Die Walküre, Opéra National du Rhin, Strasbourg
- "D’une distribution sans point faible émergent deux joyaux absolus. La surprise vient du fantastique Siegmund de Simon O’Neill. Ce chanteur d’origine néo-zélandaise possède en effet la vaillance du rôle – ses « Wälse ! » timbrés, puissamment projetés et longuement tenus ont tétanisé la salle – mais aussi des capacités de lyrisme qui lui autorisent un « Winterstürme wichen dem Wonnemond » très poétique. Avec de telles qualités, rien d’étonnant à ce qu’il soit déjà appelé par Covent Garden à Londres ou le Metropolitan Opera de New York dans ce rôle et celui de Lohengrin." Michel Thomé, ResMusica.com, 19 April 2008
- The Metropolitan Opera, 9 February 2008
- Review: Die Walküre, The Metropolitan Opera, New York
- Heroic Tenor
- "The big news, however, proved to be the remarkable Siegmund of Simon O'Neill, a tall, burly New Zealander who's been kicking around the house for some time as Placido Domingo's understudy and who had appeared only in the brief, unshowy duties of the High Priest in "Idomeneo."
I had heard O'Neill clean clocks in the tiny theater at Ireland's Wexford Festival, but this first Met leading appearance confirmed both the arresting size and pleasing tonal quality of his tenor. Completely at home in Wagner's idiom, he sang with a combined fervor and lyricism that made me hope the company has snapped him up for future appearances in roles like Parsifal, Erik, and Laca. O'Neill is a major asset, as other theaters seem to have grasped. Let's hope the current industry obsession with body type does not limit his New York career." David Shengold, The Gay City News, New York, 21 February 2008
- Accademia Nazionale di Santa Cecilia 19 January 2008
- Review: Parsifal, Accademia Nazionale di Santa Cecilia
- A Roma la magia del Parsifal "Simon O'Neill, finalmente un Parsifal autentico 'heldentenor' come detta tradizione" Enrico Girardi, Corriere della Sera, 20 January 2008
- Review: Parsifal, Accademia Nazionale di Santa Cecilia
- "Il tenore Simon O'Neill e un Parsifal di buona musicalita e corretto an che se un tantino anonimo" Alfredo Gasponi, Messaggero Cronaca di Roma, 20 January 2008
- Review: Parsifal, Accademia Nazionale di Santa Cecilia
- "Simon O'Neill (Parsifal) e sicuro e squillante." Guido Barbieri, La Repubblica, 20 January 2008
2007 Wagner - Die WalküreRoyal Opera House 4 October 2007
- Review: Der Ring des Nibelungen , Royal Opera House Covent Garden
- "The singing varied from good to great. For my money, the star was Simon O'Neill as Siegmund. His tenor voice was heroic and burnished, and he looked young and virile. If he graduates to the role of Siegfried in the future, I hope I'm there to hear it." Warwick Thompson, Bloomberg, 11 October 2007
- Review: Der Ring des Nibelungen , Royal Opera House Covent Garden
- "For vocal radiance, however, they are overshadowed by O'Neill and Westbroek, who are perhaps a decade away from being a sensational Siegfried and Brünnhilde." Anna Picard, The Independent on Sunday, 14 October 2007
- Review: Der Ring des Nibelungen , Royal Opera House Covent Garden
- "Underpinned by this strong pulse from the pit, the cast was more than the sum of its parts: its members had been well-rehearsed, and there was no phoned-in routine. Siegmund and Sieglinde present much more grateful musical challenges, and both Simon O'Neill and Eva-Maria Westbroek seized them impressively: O'Neill's "Wintersturme" had unexpected tenderness, Westbroek's mad scene was heart-rending." Rupert Christiansen, The Telegraph, 11 October 2007
- Review: Die Walküre, Royal Opera House Covent Garden
- "And it's there in the staging, too. As the strobe-strafed storm rages we discover Sieglinde in the grip of labour pains. Her phantom pregnancy comes on like a prophecy and points up the close proximity of her twin and soon-to-be lover Siegmund. She is the Dutch soprano Eva-Marie Westbroek, whose handsome middle voice has the essential womanly bloom, and he is a young New Zealander, Simon O'Neill, with a virile way with words and a top register of real bite. And how beautifully Warner plays up the chemistry between them: the static-like shock of the first accidental touch, the reassuring way she tastes the water before handing him the cup – a gesture of real intimacy." Edward Seckerson, The Independent, 8 October 2007
- The Wagner Society
- Review: Der Ring des Nibelungen , Royal Opera House Covent Garden
- "Simon O'Neill, her Siegmund in Cycle 1, created a sensation. The sheer vocal splendour and amplitude he wielded, with a terrific steely edge to the sound, all but dismantled the Opera House. There is still the odd slightly raw high note, and the range of tonal colour is not very wide yet, but he is young, and what is missing will come. This Siegmund burned with rage at the continued injustice he had suffered, a born rebel, blazing with energy. He and Westbroek made very convincing twins, both tall, youthful and physically powerful." Katie Barnes, The United Kingdom Wagner Society, December 2007
- Review: Die Walküre, Royal Opera House Covent Garden
- "There are also many other fine performances. Simon O'Neill (Siegmund) and Eva-Maria Westbroek (Sieglinde) are new to this production and prove to be an intoxicating pair of lovers with a palpable level of chemistry between them. O'Neill's youthful voice sounds ardent when required, but he is also able to caress the lyrical passages, such as in Winterstürme, with a honeyed tone that adds poignancy and passion to his portrayal. At the other end of the scale his voice rings out heroically and he brings Act 1 of Walküre to a close with as much heldentenor ardour as you could wish for. Westbroek is his equal offering an intensely theatrical performance both vocally and dramatically. Her voice is dark in timbre, but it opens out most ravishingly at the top, offering vocal excitement that sends shivers down the spine." Michael Sinclair, The Opera Critic, 31 October 2007
- Review: Der Ring des Nibelungen , Royal Opera House Covent Garden
- "Pappano’s a superb accompanist of singers – unusually in Wagner, here they’re never drowned out. His approach was at its best with Simon O’Neill, a fresh-voiced Siegmund of intimate lyricism (Domingo takes over this week)." Martin Hoyle, Time Out London, 17 October 2007
- Review: Die Walküre, Royal Opera House Covent Garden
- "The Musical and dramatic performances were so tremendously affecting - Antonio Pappano was on stunning form in the pit, and Siegmund and Sieglinde (Simon O'Neill, pictured and Eva-Maria Westbroek) were the finest I've heard - that to give fewer than five stars would be churlish" Warwick Thompson, Metro, 8 October 2007
- Review: Die Walküre, Royal Opera House Covent Garden
- "As is often the case, of the two pairs of lovers it was the first match that proved most memorable. The fiery tenor of Simon O'Neill, debuting in the role of Siegmund (and replaced by Placido Domingo for the remaining cycles), rippled with youthful urgency, while Eva-Maria Westbroek's mesmerising Sieglinde was, for me, the production's most heartening surprise." Guy Dammann, The Observer, 14 October 2007
- Review: Die Walküre, Royal Opera House Covent Garden
- Gods and men clash in splendid confusion
- "...this is turning into a Ring full of startling individual performances. Simon O'Neill is an exemplary Siegmund, terrific of voice, and making the man's noble anguish genuinely palpable." Tim Ashley, The Guardian 6 October 2007
- Review: Die Walküre, Royal Opera House Covent Garden
- "There are terrific individual performances. Simon O’Neill is almost as good as a beefy, bedraggled Siegmund, especially when he adds a spoonful of honey to his turbo-charged tenor."
- Review: Die Walküre, Royal Opera House Covent Garden
- "The act can count on two high-octane lovers in the shape of Simon O'Neill (Siegmund) and Eva-Maria Westbroek (Sieglinde). O'Neill's tenor is more gruff than heroic or traditionally beautiful and his lower register never quite seems healthily produced, but he boasts a dangerous, clarion ring up above that greatly excites the ear; his sustained cries of Walse shoot into the hall like machine gun fire and his projection is tireless. Yet there is no suggestion of 'can belto' delivery here: the Winterstürme is sung with lied-like precision, a golden ring creeping into O'Neill's timbre to mirror the murmuring arrival of spring. The commitment from each performer is great, and the overall effect is of a very fine, if not flawless, performance. " Dave Paxton, MusicOMH.com 5 October 2007
- Review: Die Walküre, Royal Opera House Covent Garden
- Walkure on the wild side
- "Given the thunderous, foot-stamping applause which greeted the final curtain of Die Walkure, you could imagine this was already the end of the complete cycle of Wagner's Ring. Instead, we are half way through an account which grows ever more gripping. This is an exceptional cast all round. The incestuous Siegmund and Sieglinde rival each other for vocal supremacy, Simon O'Neill a towering presence with pure, steely top notes, Eva-Maria Westbroek impassioned and rapturous." Fiona Maddocks, Evening Standard, 5 October 2007
- Review: Die Walküre, Royal Opera House Covent Garden
- "To make the whole thing work, the Royal Opera has corralled a dazzling array of performers. Simon O'Neill and Eva-Maria Westbroek are ideal as the star-crossed siblings Siegmund and Sieglinde." Michael Church, The Scotsman, 12 October 2007
An Evening with the Stars
Christchurch Symphony, 16 August 2007
Review: Christchurch Symphony
"When a singer knows maestro Ricardo Muti as Ricky, you know he has reached the top. So it was with Simon O'Neill whose cheerful familiarity with the renowned conductor seemed not at all out of place, so superlative was his performance last night. Ombra Mai Fu, and duets from Carmen and Otello, were immaculate. Here is a true, natural tenor, clean and true throughout the range, with a strong top and so much horsepower in reserve you can hardly believe your ears.
Southern Opera's list of sponsors looks impressive and Christopher Doig's contacts are obviously good if he can bring opera's Roger Federer and Tiger Woods to Christchurch on the same night. Things look good for Carmen in October, and if the magnificent O'Neill can possibly be persuaded to perform a season here, then Southern Opera will have the hottest ticket in town." Timothy Jones, The Press, Christchurch, 17 August 2007Beethoven - Fidelio The Auckland Philharmonia, 10 August 2007
- Review: Fidelio, Auckland Philharmonia
- "Simon O'Neill as Florestan was particularly impressive in his prison aria; he sang heartbreakingly remembering better times. Reunited with Leonore in Act Two, he was irrepressible." William Dart, The New Zealand Herald, 13 August 2007
- Review: Fidelio, Auckland Philharmonia
- "Simon O'Neill gave an electrifying performance as the heroic Florestan. His rich tenor voice expressed the weary fortitude of the condemned man as well as the anguish of meeting Leonora in an engaging and poignant performance." John Daly-Peoples, The National Business Review, 17 August 2007
Rome, the eternal city The Auckland Philharmonia, 26 July 2007
- Review: Auckland Philharmonia
- "Tenor Simon O'Neill and soprano Erika Sunnegardh revealed their stellar status very early in Bellini's "Ah, crudele! In sen del padre". O'Neill laid out impressive Wagnerian credentials in Allmachtger Vater from Rienzi, as noble a prayer as any strife-torn nation could want. After interval, the singers returned with a selection from Puccini's Tosca. Once again the singers delivered a total performance, Sunnegardh dashing on stage to join the waiting O'Neill in the great Act I duet. The soprano was spine-tingling in her "Vissi d'arte" and, after a rapturous "E lucevan le stelle" from O'Neill, the two sang their hearts out until silenced by Puccini's 4am bell. The drama of these 36 minutes alone bodes well for the orchestra's Fidelio on August 10, when O'Neill and Sunnegardh promise to be a Florestan and Leonore to remember." William Dart, The New Zealand Herald, 30 July 2007
Bizet - Carmen Wolftrap Opera, National Symphony Orchestra, 28 June 2007 Review: Carmen, Wolftrap Opera "Tenor O'Neill turned in a surprisingly robust performance as Don Jose, the opera's hapless hero, often regarded by opera aficionados as a wimpy guy unworthy of Carmen's attention. Not so here. Mr. O'Neill endowed his character with great complexity and gave him more authority with his substantial and well-supported instrument." T.L. Ponick, Washington Times, 30 June 2007
Review: Carmen, Wolftrap Opera "O'Neill, like Graves, has a voice of undeniable impact when he's at his best. In an opera world that constantly laments a dearth of large voices, his thick, squillo sound is a rare thrill." Ronni Reich, The Washington Post, 30 June 2007 Beethoven - Fidelio The Royal Opera House, Covent Garden, 18 June 2007 Review: Fidelio, Royal Opera House "The clarion-voiced tenor Simon O’Neill was a formidable Florestan." Anthony Tommasini, The New York Times, 15 June 2007 Review: Fidelio, Royal Opera House "Simon O'Neill's assumption of Florestan is monumental. He sings in but three of the ROH performances and captures the hallucinating loneliness of the character and, then, his burgeoning strength. O'Neill (who was a late replacement for Philip Langridge in a performance of the finale of Beethoven's Choral Symphony, conducted by Dohnányi, in the Gala Concert opening the refurbished Royal Festival Hall on 11 June) is a well-built chap and has a heroic voice to match. His desperate state and then his anticipation of liberation are especially well conveyed and his impressively ringing high notes proved to be the icing on the cake. He conveys Florestan as a 'good' man, and one can fully understand Leonore's attempts to find and rescue him; to do whatever it takes. ...anyone interested in 'heldentenors' and a successor to Ben Heppner might wish to hear O'Neill." Colin Anderson, The Opera Critic - 18 June 2007. Puccini - La boheme New Orleans Opera, 25 April 2007 Review: La boheme, New Orleans Opera "As Rodolfo, tenor Simon O'Neill commanded the stage with a bold, lyrical voice that made each of his arias showstoppers. "Che gelida manina" rang out with crystalline purity; with the magnificent love duet "O soave fanciulla," O'Neill captured the audience's heart, as well as Mimi's. This Rodolfo, however, has more than just pretty high notes. There is a power in O'Neill's voice that places him firmly in heldentenor territory." Theodore P. Mahne, The Times-Picayune - 25 April 2007 Bundaleer Forest Concert South Australia, 24 March 2007 Review: Bundaleer, Adelaide Symphony Orchestra "ORGANISERS of the fourth Bundaleer Forest Weekend probably breathed a huge sigh of relief when threatening skies spared the event at the 11th hour. Luck, too, smiled kindly on this community-run festival in South Australia's mid-north. Somehow it managed to secure the first Australian appearance of one of the world's most successful young operatic tenors, New Zealander Simon O'Neill. He is a principal artist at the Metropolitan Opera in New York and is about to sing the role of Siegmund there and at Covent Garden in London later this year. O'Neill turned in a series of stunning performances, of the kind that stay etched in the mind.
First came Handel's Ombra mai fu, heroic in grandeur and masterfully paced in a manner that held the audience breathless. Later solos from Puccini including Nessun Dorma, from Turandot, only confirmed that O'Neill has the hallmarks of greatness.
The quality of his voice is glorious, by turns dark and bright, but it was his ability to hold the big phrase with controlled, sustained power that brought tingles to the spine."Graham Strahle, The Australian, 27 March 2007
Previn - A Streetcar Named Desire Theater an der Wien, 2 March 2007 Review: A Streetcar Named Desire, Theater and der Wien "Herausragend ist Simon O'Neill als enttäuschter, braver Blanche-Verehrer Mitch." Salzburger Nachrichten - 2 March 2007 Review: A Streetcar Named Desire, Theater and der Wien "Und Simon O'Neill durchschifft sogar die Klippen der verzehrenden Tenor-Arie stromlinienförmig sicher: Sein Mitch ist in all seiner Verklemmtheit die bemerkenswerteste Rollengestaltung des Abends" Die Presse, Wien - 2 March 2007 Review: A Streetcar Named Desire, Theater and der Wien "Ehrliche Leidenschaft verströmte Simon O'Neills Mitch, der mit wunderschönen Kantilenen punktete." OÖ Nachrichten - 2 March 2007
Beethoven - Ninth Symphony Orchestra di Sinfonica Giuseppe Verdi, 1 January 2007 Review: Beethoven Ninth Symphony Orchestra di Sinfonica Giuseppe Verdi "Piuttosto, la vivida espressivita del tenore Simon O'Neill" GIAN MARIO BENZING, Corriere della Sera - 1 January 2007
2006
Lizst - Psalm XIII American Symhony Orchestra, 22 October 2006 Review: Lizst Psalm XIII, American Symphony Orchestra "The Liszt, featuring a splendid New Zealand tenor named Simon O’Neill, is about as close to opera as the grown-up composer ever got. Wagnerian monologue and choral ex changes came and went in this series of dramatic episodes. The music, from 1863, was more various in mood and color than most of the later-dated pieces around it, and then there was Liszt’s rhapsodic coda — the product of a superior musical imagination that had “Tristan und Isolde,” which was composed in the late 1850’s, ringing freshly in its ears. The performances were all reasonable; Mr. O’Neill’s was exceptional." BERNARD HOLLAND, New York Times - 24 October 2006 Review: Lizst Psalm XIII, American Symphony Orchestra "And what a soloist we had this day. Simon O'Neill has a ringing heldentenor that cuts right through the orchestra and easily resounds in the back row of the balcony. Barrel-chested and youthful, he could certainly step into a Siegfried or Siegmund role in the future. In fact, Liszt seemed to be influenced by his friend and son-in-law Wagner as he penned this dramatic scene." FRED KIRSHNIT, New York Sun - 24 October 2006
Mozart - Idomeneo Metropolitan Opera, September 2006
Review: Idomeneo, Metropolitan opera "...Simon O'Neill (the high priest), made a strong debut" MARTIN BERNHEIMER, Financial Times - 2 October 2006
Vienna Philharmonic - Salzburg Festival, August 2006 Review: Die Zauberflöte, Salzburg Festival ‘Flute' Wins The Heart'. Once more, New Zealand's Simon O'Neill blew his tenor trumpet as one of the Knights. And, once more, he overwhelmed everything around him. You could barely tell that other singers, not to mention the Vienna Philharmonic, were making a sound as he was singing. But the voice is so splendid, you really don't mind. The guy on the glockenspiel wasn't bad either. JAY NORDLINGER, New York Sun - August 21 2006
New Zealand Symphony Orchestra, March 2006 Review: Parsifal, New Zealand Symphony Orchestra "O'Neill's glorious ringing voice, perhaps more Italianate in timbre than heldentenor-like, provided a highly distinctive colour." THE LISTENER, Peter Shaw, 1 April 2006 Review: Parsifal, NZSO "In Simon O'Neill New Zealand has a world class Parsifal. It is hard to believe that he was singing the role for the first time, as his performance is already accomplished. He possesses a true Heldentenor voice, with a rich, warm baritone quality in the lower registers combined with a clarion, ringing top. He demonstrated a complete understanding of the text, moving from innocent fool to enlightened redeemer with effortless ease. This auspicious debut is surely the beginning of an illustrious career in this repertoire." THE OPERA CRITIC, Michael Sinclair, 21 March 2006 
Review: Parsifal, NZSO "Hugely impressive was Simon O’Neill in the title role. Although his gestural range was somewhat economical, it was still a heartfelt performance that captured the foolish innocence, suffering and regal serenity of this mysterious and saintly individual. Vocally, O’Neill was stunning, producing a Heldentenor sound that carried majestically. He was smooth and carefree with the flower maidens, solemn and powerful in his return as king, but also thrilled with a raw intensity that was particularly affecting in Parsifal’s defiance of Kundry." NZ SCOOP, 19 March 2006
Review: Parsifal, NZSO "Simon O'Neill has thrilled us in Auckland singing everything from Puccini to Bernstein; as the young Parsifal, he reveals his potential to become a Heldentenor of international stature." NEW ZEALAND HERALD, 20 March 2006
Review: Parsifal, NZSO A Splendid Parsifal "Tenor Simon O'Neill's debut as Parsifal suggests a future Helden-tenor with a voice now of strength, distinction and penetration, though more in tune perhaps with Parsifal the naive fool than Parsifal the charismatic and wise leader." THE DOMINION POST, 18 March 2006
Royal Opera House Covent Garden, January 2006
Review: The Bartered Bride, ROH
"The main vocal interest was the house debut of the New Zealand tenor Simon O'Neill as Jenik. As he showed in Susannah at Wexford last October, he has a beefy and at times rather old-fashioned sock-it-to-'em voice, which he controlled well, so that his impressive, ringing top notes never sounded coarse. In the love duet with Marenka, perhaps encouraged by the fluent woodwind playing which Mackerras obtained, he showed himself capable of real sensitivity, and he sang his Act 2 aria in her praise most affectingly. OPERA MAGAZINE, March 2006
Review: The Bartered Bride, ROH
"Simon O'Neill as Jeník was well cast, crafty and besotted, tending his cabbages and telling his beloved how much she meant to him. His many arias were all strong and true." MUSICAL OPINION, March 2006
Review: The Bartered Bride, ROH
"It's quite a sing. So, too, is Jenik, her true love, a tenor role with a hint of the heroic and the ability to spring some unexpected surprises above the stave. The young New Zealand tenor Simon O'Neill is quite a find for this part, having both the ruddy robustness and Slavic brightness. He can perhaps work on making the phrasing more ingratiating but his reach is rafter-rattling." THE INDEPENDENT 11 January 2006
Review: The Bartered Bride, ROH
"...the promising New Zealand tenor Simon O'Neill sang Jenik with ringing clarity and security." THE TELEGRAPH, 11 January 2006
Review: The Bartered Bride, ROH
"Simon O'Neill as a clarion-voiced Jeník" FINANCIAL TIMES, UK, 11 January 2006
Review: The Bartered Bride, ROH
"Susan Gritton makes a glorious Marenka, with a commanding if stentorian lover in the New Zealand tenor Simon O'Neill's Jenik." THE OBSERVER, 15 January 2006
Review: The Bartered Bride, ROH
"Simon O’Neill making his Covent Garden début as Jeník is quite a Heldentenor discovery; He is definitely a future Walther and Siegfried." SEEN AND HEARD, 11 January 2006
Review: The Bartered Bride, ROH
"... well matched by tenor Simon O'Neill, making his Royal Opera debut in the principal role of Jenik. His huge, ringing tenor sound includes some spectacular trumpet-like notes; he also has a charming way with comedy." BLOOMBERG 10 January 2006
Review: The Bartered Bride, ROH
"The embattled lovers, Jenik and Marenka, are played by Simon O'Neill and Susan Gritton. O'Neill is all glamorously ringing high notes and bullish charm." THE GUARDIAN, 9 January 2006
Review: The Bartered Bride, ROH
"sung impressively by the New Zealand tenor Simon O'Neill in his Covent Garden debut; O'Neill has the top notes and he certainly flaunts them" SUNDAY TELEGRAPH, 15 January, 2006
Review: The Bartered Bride, ROH
A bohemian rhapsody "As Jenik, the New Zealand tenor Simon O'Neill made a winning house debut, secure in high notes, with an unaffected brightness of tone." THE EVENING STANDARD, 9 January 2006
musicOMH.com
Review: The Bartered Bride, ROH
"In the New Zealand tenor Simon O'Neill Mackerras has found an ideal Jeník. He will surely be a great Walther von Stolzing in Wagner's Meistersinger one of these days, as he has such a big yet lyrical voice." MUSICOMH.COM, January 2006.
Review: The Bartered Bride, ROH
"The leading lovers were admirably sung by New Zealand newcomer, tenor Simon O'Neill, with powerful tone." SUNDAY EXPRESS, 15 January 2006
Review: The Bartered Bride, ROH
"If Simon O'Neill is marginally less convincing as Jeník, this is more to do with the ambiguity in his nature as Karel Sabina's libretto presents it (is his bartering of Mařenka done out of selfless ingenuity, or is there an opportunist motive?) than in his actual singing – the high tessitura of the role being accommodated with little obvious strain. And, in his Act Two aria, O'Neill captured the emotional roundness of this long-lost heir-apparent who claims his birthright in decidedly meritocratic terms." THE CLASSICAL SOURCE 11 January 2006
Review: The Bartered Bride, ROH
"O'Neill revealing a big, raw-boned tenor voice that surely make him a terrific Puccinian one day." THE MAIL ON SUNDAY, 15 January 2006
- 2005
- Wexford Festival Opera, November 2005
Review: Susannah, Wexford Festival
"Simon O'Neill presented his exciting heldentenor credentials as her brother Sam" OPERA NOW, January 2006
Review Susannah, Wexford Festival
"The best music came from the Irish tenor Simon O'Neill's splendidly sung Sam." THE INDEPENDENT UK, 27 October 2005
Review Susannah, Wexford Festival
"...sung by O'Neill (a magnificent new tenor, as Susannah's brother Sam)....it speaks straight to the heart through music of uninhibited tonal simplicity and Pucciniesque fervour." THE TELEGRAPH UK, 28 October 2005
Review Susannah, Wexford Festival
"The Irish-American tenor Simon O’Neill, soon to sing Jenik in The Bartered Bride and Siegmund in Die Walküre at Covent Garden, revealed a promising heldentenor" THE TIMES 30 October 2005
- Mozart - Die Zauberflöte
- Salzburg Festival August 2005
Review: Die Zauberflöte, Salzburg Festival
"the New Zealander tenor Simon O'Neill - a Knight - who, gave more volume than he should have. Given the thrilling and gorgeous quality of his voice, however, you couldn't blame him." THE NEW YORK SUN, 10 August 2005
Review: Die Zauberflöte, Salzburg Festival
"Simon O'Neill and Günther Groissböck were a particularly strong pair of Men in Arms, their voices combining mellifluously during their short scene in Act 2" THE OPERA CRITIC 8 August 2005
Review: Die Zauberflöte, Salzburg Festival
"...den beiden Geharnischten (vokal exzellent: Simon O'Neill und Günther Groissböck)" "...the two Geharnischten (vocally excellent: Simon O'Neill and Günther Groissböck)" DIE PRESSE, Austria, 1 August 2005
- BBC Symphony Orchestra, CD review
- Review: Chausson: Le Roi Arthus - Disc of the Month
- "Die Sänger der vorliegenden Aufnahme werden den Anforderungen ihrer Partien weitgehend gerecht: Der italienisch timbrierte Tenor Simon O'Neill reüssiert als Lancelot hervorragend..." RONDO MAGAZIN, May 2006
- "The singers of the existing reception become the requests of its parties extensively just: That Italian timbre tenor Simon O'Neill succeeds as a Lancelot outstanding..." RONDO MAGAZINE, May 2006
Review: Chausson: Le Roi Arthus - Disc of the Month
"As Lancelot, Simon O'Neill has the requisite heft, urgency and volume as the damned lover; like Guinevere, the part is hyper-dramatic, and both singers respond generously." OPERA MAGAZINE, December 2005
Review: Chausson: Le Roi Arthus - Telarc CD
"Simon O'Neill's dynamic, ardent Lancelot." BBC MUSIC MAGAZINE, July 2005
Review: Chausson: Le Roi Arthus - Telarc CD
"O'Neill makes a shiningly heroic tenor sound as Lancelot and the BBC SO sounds in top form." CLASSIC FM MAGAZINE, July 2005
Review: Chausson: Le Roi Arthus - Telarc CD
"Simon O'Neill is a glamorous-sounding Lancelot." THE GUARDIAN, UK, Tim Ashley, 10 June 2005
- Minnesota Opera May 2005
Review: Adams Nixon in China
Opera purrs, roars and sings "Simon O'Neill's Mao was really something: a huge, powerful tenor leaping out of this old, sleepy figure." MINNEAPOLIS STAR TRIBUNE, May 16, 2005
Composer Adams drops in on 'Nixon'
Among the singers, he was especially impressed with Australian tenor Simon O'Neill, who played Chairman Mao. "That's really the way I envisioned the part," Adams said. "This huge voice suddenly soars out of this frail, old body." MINNEAPOLIS STAR TRIBUNE, Nixon in China article, May 22, 2005
- Puccini - La Boheme
- Opera Grand Rapids, February 2005
Review: La Boheme, Opera Grand Rapids
Opera portrays passion, pain beautifully. "Simon O'Neill played the poet, Rodolfo, with a blend of naivete and earnest passion, singing with one of the biggest tenor voices DeVos Hall has heard in years." THE RAPIDS PRESS, 12 February 2005
- Marilyn Horne Recital
- Carnegie Hall January 2005
Celebrating a Birthday with a Global Heartbeat "The long program was titled ''A Feast of Folk Songs,'' and the cuisine was international. Simon O'Neill, a vibrant tenor from New Zealand, was joined by the pianist Jonathan Kelly for songs from the British Isles." THE NEW YORK TIMES, 31 January 2005
Fresh Young Voices. "Simon O'Neill is a New Zealander with a lilting Irish tenor of near-heldentenor amplitude, but he sings with an open-hearted generosity that delighted the audience. We heard all six stanzas of "Danny Boy" (the first two are often omitted), and he glided poignantly through "The Last Rose of Summer." THE NEW YORK SUN, 31 January 2005.
2004
- Auckland Chamber Orchestra, July 2004
Review: Idomeneo, Auckland Chamber Orchestra
"This was one of the great achievements of the Auckland Chamber Orchestra and Opera Studio. Simon O Neill, briefly in New Zealand in between his understudy work at the Met provided a solid performance as Idomeneo. His voice, filled with drama and emotion, was well controlled and his arias were beautifully phrased and pitched." THE NATIONAL BUSINESS REVIEW, 15 August 2004
Review: Idomeneo, Auckland Chamber Orchestra
"Simon O'Neill's Idomeneo was a forthright hero, if occasionally overprojected for the space, delivering the great Fuor del mare as if it had been written for him." NEW ZEALAND HERALD 15 August 2004
- Verdi - King of Opera Gala Concert
- Auckland Philharmonia, July 2004
Review: Verdi Gala Concert
"Simon O'Neill gave an enthralling performance, opening the concert with O feder negar potessi from Luisa Miller. It is an aria in which expression is important and he provided the ideal vehicle with his naturalistic body movements and gesture along with a vivid, towering voice." THE NATIONAL BUSINESS REVIEW, 30 July 2004
"Review: Verdi Gala Concert
"From the first phrases of Simon O'Neill's Luisa Miller aria, the tenor bracingly at ease with Verdi's striding lines, it was obvious we were in for an operatic gala to remember. O'Neill was the kingpin this time and a dauntless divo he proved to be, in thrilling voice throughout. The great joy of the evening lay in the ensembles. Wright and O'Neill were transcendental in the Act One duet from Otello, with the most tender of singing, framed in some of Verdi's most delicate orchestration." NEW ZEALAND HERALD, 26 July 2004
- Toledo Opera, May 2004
Review: The Crucible, Toledo Opera
"The clarion voice and near perfect diction of Simon O'Neill helped create a Judge Danforth of fanatical danger" OPERA NEWS, July 2004
- Kiri te Kanawa Gala Concert
- Auckland Philharmonia, February 2004
Review: Kiri and Friends Gala Concert
"Simon O'Neill proved himself yet again to be a popular favourite with Nessun dorma. Te Kanawa and O'Neill created the highlight of the evening bringing Mimi and Rodolfo to glorious life for O Soave fanciulla." NEW ZEALAND HERALD, March 20 2004.
2003
- Wolftrap Opera, July 2003
Review: La Clemenza di Tito, Wolftrap Opera
"The Wolf Trap production features tenor Simon O'Neill in the lead role as Tito. He has a splendid voice of heroic proportions." THE WASHINGTON POST, Washington DC June 20- 28 2003
Review: La Clemenza di Tito, Wolftrap Opera
".... casting of impressive New Zealand tenor Simon O'Neill as the Emperor. Mr. O'Neill's voice is big, powerful and commanding, and he is not afraid to show it in this opera. In a way, that's reassuring. Portraying an emperor who seems a little weak-kneed in the retribution department, perhaps Mr. O'Neill is attempting to show, vocally, that Tito is fully possessed of the manly confidence required of a great Roman ruler." THE WASHINGTON TIMES, Washington DC June 20 - 28 2003
- BEETHOVEN Ninth Symphony,
- Thousand Oaks Symphony
Review: Beethoven Ninth Symphony
"The soloists provided vocal coloration in abundance, along with dramatic intensity. Particularly effective was O'Neill, a clarion tenor."INSIDE VC Thousand Oaks, California, May 22, 2003
- Opera New Zealand, March 2003
Review: Boris Godunov, Opera New Zealand
"Simon O'Neill's Grigory a tenor joy, making the most of it's decidedly truncated place in the sun in this version" OPERA OPERA, Australia, Boris Godunov review, April 2003
Review: Boris Godunov, Opera New Zealand
"Simon O'Neill as the young monk Grigory who becomes pretender to the throne was outstanding, his tone and style magnificently Russian-sounding." SUNDAY STAR TIMES, Boris Godunov review, 9 March 2003
Review: Boris Godunov, Opera New Zealand
"Simon O'Neill's singing has matured marvelously, and as Grigory he produces some of the most exciting singing of the evening." THE NEW ZEALAND LISTENER, Boris Godunov review, 22 March, 2003
Review: Boris Godunov, Opera New Zealand
"Returning to New Zealand from his American successes, Simon O'Neill was a stirring, heroic Grigory." THE NEW ZEALAND HERALD, March 29,2003
Review: Boris Godunov, Opera New Zealand
"...and Simon O'Neill is stunning as the pretender Grigory-Dmitri. His voice is just right for Russian music, he becomes the part in extraordinary fashion. His scene with Pimen in the Chudov Monastry, is one of the many highlights. THE DOMINION POST 8 March 2003
2002
- PUCCINI - La Boheme, Rodolfo
- San Francisco Opera Merola and Western Opera Theatre National Tour 2002
Review: La Boheme, Merola
"However on Friday night, the audience DID get a good tenor indeed. Simon O'Neill sang Rodolfo with the ease of a professional ready for the next step in his seemingly promising career. His voice is clarion, and he produces an exciting, resonant tenor sound. Although O'Neill didn't take the high C with the soprano at the end of Act I and sang his part as written, it sounded like he certainly could have done it with ease." CHARLESTON POST AND COURIER La Boheme review, 10 November 2002
Review: La Boheme, Merola
"Tenor Simon O'Neill was an especially appealing Rodolfo. After projecting warmth and genuine ardor in Act I's 'Che gelida manina', O'Neill proved a sturdy lead throughout the production." CONTRA COSTA TIMES La Boheme review, 9 July 2002.
2001
FLOYD - Susannah, Sam Juilliard, November 2001
Review: Susannah, Juilliard Opera Center
Convincing Innocence on Stage. NEW YORK TIMES On the Web, 21 November 2001.
Review: Susannah, Juilliard Opera Center
"The performance of Simon O'Neill (Sam Polk) combined the powerful and the poignant - one really felt his near-juvenile, symbiotic connection with his sister." OPERA NEWS Susannah Review, March 2002 Vol.66, No.9.
- TCHAIKOVSKY - Eugene Onegin, Lenski
- New Zealand Symphony Orchestra, July 2001
Review: Lenski aria, New Zealand Symphony Orchestra
O'Neill confirms his star status "However the musical highlight was the superb pre duel aria by Lenski sung by Simon O'Neill. His russian seems wonderfully authentic, making Lenski's aria a thrilling experience. What a career he has with this repertoire - no wonder that his five minutes relegated the other two hours to second place." THE DOMINION, 23 July 2001.
2000
- Opera in Concert
- Singapore Symphony, July 2000
Review: Romeo et Juliette, Singapore Symphony
"In Simon O'Neill we had a Romeo of excellent voice, with a gorgeous body of tone and ample projection. His full sound possessed a pleasant woody timbre with his effortless singing and impassioned delivery of the Act 2 cavatine ("Ah, lève-toi, soleil"), I think everyone approved, judging by the spontaneous applause." THE FLYING INKPOT, Singapore July 2000.
1999
- All Black's Rugby, Bledisloe Cup Anthem
- Eden Park Auckland, July 1999
"The volume of the national anthem, led with gusto by opera star Simon O'Neill, was astounding, more like something you'd hear from Twickenham. And following Carisbrook's lead of putting microphones on the pitch to pick up Taine Randell's roaring haka is inspired. It's spine-tingling stuff." NATIONAL ANTHEM PERFORMANCE, NZ HERALD REVIEW, July 1999
- Opera Arias
- Victoria University School of Music, CD review, April 1999
"Simon O'Neill's first aria is 'Che gelida manina', and here too is evidence of a remarkable voice .... then 'Recondita armonia', 'Una furtiva lagrima' paced and articulated with astonishing aplomb, coming within reach of the ecstatic sound of Bjorling." NEW ZEALAND OPERA NEWS, April 1999.
1998
- Holst - Savitri, Satyavan
- Manhattan School of Music CD Review
"Of the trio, Simon O'Neill was by far the strongest and it was thus a shame that he is so quickly killed off ..... his voice with its promise of Melchorian sublimity." CONCERTONET.COM Frederick L Kirshnit, 11 December 1998.
- Last of the Proms
- Auckland Philharmonia, August 1998
Review: Last Night of the Proms, Auckland Philharmonia
"Italy has Pavarotti but O'Neill is the tenor many New Zealander's associate with Puccini's mega-aria Nessun dorma" NEW ZEALAND HERALD, August 1998.
1997
- MCNALLY - Masterclass, Tony Candolino
- Auckland Theatre Company, 1997
Review: Masterclass, Auckland Theatre Company
"Of the 'students' Callas teachers, Simon O'Neill's performance is particularly striking. He brings warmth and directness to the role of Tony that could have him mistaken for an actor until, that is, he opens his mouth and blows us away with a stunning rendition of an aria from Tosca" NEW ZEALAND HERALD Leonie Reynolds, August 1997.
