Simon O'Neill


A native of New Zealand, Simon O’Neill has established himself as one of the finest helden-tenors on the international stage. He is a principal artist with the Metropolitan Opera, the Royal Opera House, Covent Garden, Teatro alla Scala and both the Bayreuth and Salzburg Festivals, appearing with a number of illustrious conductors including James Levine, Riccardo Muti, Valery Gergiev, Sir Antonio Pappano, Daniel Barenboim, Pietari Inkinen, Pierre Boulez, Sir Charles Mackerras, Sir Colin Davis, Daniele Gatti, Edo de Waart, Fabio Luisi, Donald Runnicles, Sir Simon Rattle, Thomas Hengelbrock and Christian Thielemann.

Simon’s performances as Siegmund in Die Walküre at the Royal Opera House, Covent Garden with Pappano, Teatro alla Scala and Berlin Staatsoper with Barenboim, at the Metropolitan Opera with Runnicles in the celebrated Otto Schenk production returning with Luisi in the Lepage Ring Cycle and in the Götz Friedrich production at Deutsche Oper Berlin with Rattle were performed to wide critical acclaim. He was described in the international press as "an exemplary Siegmund, terrific of voice", "THE Wagnerian tenor of his generation" and "a turbo-charged tenor".  

Notable debuts have included; Jenik in The Bartered Bride the Royal Opera House with Mackerras (2005), Die Zauberflöte at the Salzburg Festival with Muti (2005) in, Gran Sacerdote in Idomeneo at the Metropolitan Opera under Levine (2006), Sergei in Shostakovich's Lady Macbeth of Mtsensk with Armstrong for Opera Australia (2009), Siegmund in Die Walküre at Teatro alla Scala with Barenboim (2010) and the Bayerische Staatsoper with Nagano (2013), Lohengrin (title roles) for the Bayreuth Festival with Nelsons (2010), Parsifal (title roles) with Gatti (2011), Chairman Mao in Nixon in China with Lawrence Renes with the San Francisco Opera (2012), and Parsifal at the Wiener Staatsoper with Thielemann (2012).

Simon made his Bayreuth festival debut in the title of Lohengrin in the new Hans Neuenfels production and returned as Parsifal in the celebrated Stefan Herheim production. Other recent engagements have included opening La Scala's season as Siegmund in Die Walküre with Barenboim, the Wiener Staatsoper with Welser-Möst, his return as Siegmund in the celebrated Keith Warner Ring Cycle, Lohengrin, Fidelio, Stolzing in Die Meistersinger von Nürnberg and the title role of Parsifal in the Stephen Langridge production at the Royal Opera House Covent Garden, the Tambourmajor in Wozzeck with Levine at the Metropolitan Opera, Erik in Der Fliegende Holländer at the Ravinia Festival with Conlon and the Chicago Symphony, Otello in Houston, Cavaradossi in Tosca in Tokyo, Berlin and Hamburg, Fidelio and Die Walküre at Houston Grand Opera and Hamburg Staatsoper. Simon also made his debut in the role of Siegfried in concert performances of Götterdämmerung with the Orquesta Sinfonica Galicia, reprised Parsifal with the Balthasar-Neumann Ensemble and Hengelbrock at Teatro Real Madrid and returned to Opera Australia and Houston Grand Opera as Verdi’s Otello.

Engagements for 2016 and beyond include the Mahler Symphony No.8 in Tokyo, Florestan in Fidelio with the Accademia di Santa Cecilia under Pappano, Gurrelieder with Runnicles at the Edinburgh Festival, Otello with the Auckland Philharmonia, Die Walküre for the Berlin Staatsoper (Barenboim), Berlin Philharmonic (Rattle) and Bayerischer Staatsoper (Petrenko), Götterdämmerung with Patrick Summers, Drum Major in Wozzeck for the Hamburgische Staatsoper, and the title role of Siegfried in Hong Kong.

At extremely short notice Simon made his debut in the title role of Verdi’s Otello in concert at the Barbican with the London Symphony Orchestra, conducted by Sir Colin Davis (2009). His performance was widely acclaimed by critics, who described his musical and dramatic portrayal of the infamous protagonist as “thrilling”, “a triumph”, “an immense performance” “a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade.” 

Simon has appeared in many of the world’s leading concert halls including Carnegie Hall for Das Lied von der Erde with Levine and The Met Orchestra and Missa Solemnis with the Boston Symphony, Das Lied von der Erde with Tilson-Thomas conducting the San Francisco Symphony, Florestan in Fidelio at both the Salzburg Festival and BBC Proms with Barenboim and with the National Symphony Orchestra and Eschenbach at the Kennedy Center, Gurrelieder in the BBC Proms at the Royal Albert Hall, Das Lied von der Erde and Parsifal in concert at Accademia Nazionale di Santa Cecilia with Pappano and Gatti, Parsifal Act 3 with Nelsons and the Bayerischer Rundfunks Orchestra at the Munich Herkulesaal,  Der Freischütz with Sir Colin Davis and the London Symphony Orchestra, Janacek’s Glagolitic Mass with Dutoit at Tokyo’s NHK Hall and with Boulez in the BBC Proms at the Royal Albert Hall, Mahler’s Symphony No.8 at the Sydney Opera House with Ashkenazy and Beethoven’s Symphony No.9 for the reopening of London’s Royal Festival Hall. He also had the honour of touring Europe with Daniel Barenboim and the West-Eastern Divan Orchestra performing Act I Die Walküre in concert and performing complete the Ring Cycle with the Staatskapelle Berlin at the BBC Proms.

Grammy nominated, his discography includes his debut solo award winning album; Father and Son, Wagner Scenes and Arias (Lohengrin, Parsifal, Siegmund and Siegfried) with Pietari Inkinen and the NZSO for EMI, the title role of Parsifal on Blu-ray and DVD with Sir Antonio Pappano from Covent Garden, the title role of Otello and Max in Der Freischütz with Sir Colin Davis for LSO Live, Die Walküre on Blu-ray and DVD with Daniel Barenboim from La Scala, Die Zauberflöte for the Salzburg Festival Mozart 25 DVD with Riccardo Muti, Mahler’s Symphony No.8 with Vladimir Ashkenanzy and the Sydney Symphony, Beethoven Symphony No.9 with Deutsche Kammerphilharmonie and Paavo Järvi and the Montreal Symphony Orchestra with Kent Nagano, Frank Martin’s Der Sturm with the Netherlands Radio Symphony and Thierry Fischer, Chauson’s Le Roi Arthus with Leon Botstein and the BBC Symphony Orchestra and most recently Voices of German Opera from EMI.

Simon O’Neill is an alumnus of the University of Otago, Victoria University of Wellington, the Manhattan School of Music and the Juilliard Opera Center. He is a Fulbright Scholar, was awarded the 2005 Arts Laureate of New Zealand and was a grand finalist in the 2002 Metropolitan Opera National Auditions returning as guest artist in 2007. He also appears on the 1998 New Zealand one-dollar performing arts postage stamp.


Read More >

News & Features



ADAMS - Nixon in China, Mao Tse-Tung 
BARBER - Anthony and Cleopatra, Caesar
BEETHOVEN - Fidelio, Florestan 
BERG - Wozzeck, Drum Major 
BIZET - Carmen, Don Jose 
BRITTEN - Peter Grimes, Peter Grimes 
BRITTEN - Rape of Lucretia, Male chorus 
CILEA - Adriana Lecouvreur, Mauricio
CHAUSSON - Le Roi d'Arthus, Lancelot 
FLOYD - Susannah, Sam 
HANDEL - Giulio Cesare, Sextus
HANDEL - Lotario, Berengario
HANDEL - Xerxes, Xerxes
JANACEK - Jenufa, Steva + Laca 
JANACEK - Katya Kabanova, Boris 
JANACEK - The House of the Dead, Skuratov 
KORNGOLD - Die Tote Stadt, Paul 
LEONCAVALLO - Pagliacci, Canio
MARTIN - Der Sturm
MASCAGNI - Cavalleria Rusticana, Turiddu
MOZART - Die Zauberflote, Tamino 
MOZART - Don Giovanni, Don Ottavio 
MOZART - Idomeneo, Idomeneo 
MOZART - La Clamenza di Tito, Tito 
MUSSORGSKY - Boris Godunov, Dmitri
POULENC - Dialogues of the Carmelites, Chevalier 
PUCCINI - La Boheme, Rodolfo 
PUCCINI - La Fanciulla del West, Dick Johnson
PUCCINI - Madama Butterfly, Pinkerton 
PUCCINI - Tosca, Cavaradossi 
PUCCINI - La Rondine, Ruggero
PUCCINI - Manon Lescaut, Des Grieux
PUCCINI - Turandot, Calaf
SMETANA - The Bartered Bride, Jenik
J STRAUSS - Die Fledermaus, Alfred
R STRAUSS - Der Rosenkavalier, Italian Singer 
R STRAUSS - Ariadne auf Naxos, Baccus
R STRAUSS - Die Frau Ohne Schatten, Kaiser+Apollo
R STRAUSS - Der Rosenkavalier, Italian Tenor
SHOSTAKOVITCH - Lady Macbeth of Mtsensk, Sergei 
TCHAIKOVSKY - Eugene Onegin, Lenski 
TCHAIKOVSKY - Pique Dame, Hermann
VERDI - Il Trovatore, Manrico 
VERDI - La Traviata, Alfredo 
VERDI - La Forze del Destino, Don Alvaro
VERDI - Macbeth, Macduff 
VERDI - Otello, Otello
VERDI - Simon Boccanegra, Gabriele
VERDI - Un Balo in Maschera, Riccardo
WAGNER - Das Rheingold, Froh+Loge
WAGNER - Der Fliegende Hollaender, Steersman + Erik
WAGNER - Die Walkure, Siegmund 
WAGNER - Gotterdammerung, Siegfried
WAGNER - Lohengrin, Lohengrin 
WAGNER - Parsifal, Parsifal 
WAGNER - Rienzi, Rienzi
WAGNER - Siegfried, Siegfried
WARD - The Crucible, Judge Danforth
WEBER - Der Freischutz, Max


# denotes role in preparation, not yet performed

Ludwig van Beethoven:                 




Benjamin Britten:


Georg Frederick Handel:




Joseph Haydn:                 



Leos Janacek:                 


Gustav Mahler:                 



Felix Mendelssohn:                 



Wolfgang Amadeus Mozart:                 




Giacomo Puccini:                 




Igor Stravinsky:                 




Giuseppe Verdi:                 


Read More >

Media Player


    Otello - Opera Australia, trailer


Houston Grand Opera, HOUSTON

WAGNER 'Götterdämmerung'

Conductor: Patrick Summers
Director: Carlus Padrissa

Brunnhilde: Christine Goerke
Hagen: Andrea Silvestrelli
Gunther: Ryan McKinny
Waltraute/Second Norn: Jamie Barton
Alberich: Christopher Purves
First Norn: Meredith Arwady
Third Norn/Gutrune: Heidi Melton

Houston Grand Opera Orchestra and Chorus

Houston Grand Opera, HOUSTON

WAGNER 'Götterdämmerung'

Conductor: Patrick Summers
Director: Carlus Padrissa

Brunnhilde: Christine Goerke
Hagen: Andrea Silvestrelli
Gunther: Ryan McKinny
Waltraute/Second Norn: Jamie Barton
Alberich: Christopher Purves
First Norn: Meredith Arwady
Third Norn/Gutrune: Heidi Melton

Houston Grand Opera Orchestra and Chorus

Houston Grand Opera, HOUSTON

WAGNER 'Götterdämmerung'

Conductor: Patrick Summers
Director: Carlus Padrissa

Brunnhilde: Christine Goerke
Hagen: Andrea Silvestrelli
Gunther: Ryan McKinny
Waltraute/Second Norn: Jamie Barton
Alberich: Christopher Purves
First Norn: Meredith Arwady
Third Norn/Gutrune: Heidi Melton

Houston Grand Opera Orchestra and Chorus

Houston Grand Opera, HOUSTON

WAGNER 'Götterdämmerung'

Conductor: Patrick Summers
Director: Carlus Padrissa

Brunnhilde: Christine Goerke
Hagen: Andrea Silvestrelli
Gunther: Ryan McKinny
Waltraute/Second Norn: Jamie Barton
Alberich: Christopher Purves
First Norn: Meredith Arwady
Third Norn/Gutrune: Heidi Melton

Houston Grand Opera Orchestra and Chorus

Houston Grand Opera, HOUSTON

WAGNER 'Götterdämmerung'

Conductor: Patrick Summers
Director: Carlus Padrissa

Brunnhilde: Christine Goerke
Hagen: Andrea Silvestrelli
Gunther: Ryan McKinny
Waltraute/Second Norn: Jamie Barton
Alberich: Christopher Purves
First Norn: Meredith Arwady
Third Norn/Gutrune: Heidi Melton

Houston Grand Opera Orchestra and Chorus

Load More




Accademia di Santa Cecilia, Antonio Pappano

"Simon O'Neill delivered a very fine prison scene as Florestan, his tight, bright tenor in clarion voice... it was well worth waiting until Act II to hear him" Bachtrack, Mark Pullinger
"For the finest voice of the performance both musically and dramatically was Simon O’Neill’s as Florestan. Perfectly focused and heroically ringing, he portrayed both heroism and vulnerability, often in the same stroke." Seen and Heard, Jack Buckley


Das Lied von der Erde

New World Symphony Orchestra, Michael Tilson Thomas

From the first words, in which O’Neill’s voice cut through the fortissimo orchestra, it was clear why this singer is tapped for heldentenor roles like Siegmund in Wagner’s Die Walküre. His projection over the surging orchestra wasn’t effortless, and that was part of its effectiveness — his muscular straining produced a tone that was rich, brilliant and pinging, with phrasing and pronunciation that brought out the desperate, death-shadowed exuberance of the text and music. O’Neill produced shining, operatic high notes. His intoning of the repeated phrase “Dunkel ist das Leben, ist der Tod” (“Dark is life, dark is death.”) was grim and luminous at once. In the passage in which he describes the ghastly image of a howling ape crouching among gravestones, he achieved a tone of almost terrifying force. In the song The Drunkard in Spring, he projected a sense of staggering, inebriated eloquence. David Fleshler, Miami Herald


Die Walkure Act 1

Dallas Symphony Orchestra, Jaap van Zweden

New Zealand born tenor Simon O’Neill was marvelous as Siegmund. His clarion voice has some Italian-style “ping” that many heldentenors lack. This allows him to sail out over even the largest orchestra swells with ease... Even his anguished cries for his absent father, Wälse, are only on a high G flat moving to a G natural. These are notes that any decent baritone can muster. But forget about muster. O’Neill knocked them out of the park... He was also the best of the three singers in conveying the dramatic twists and turns of the plot without the benefit of staging. Gregory Sullivan Isaacs, Theatre Jones



New Zealand Opera

O'Neill is in glorious form for E lucevan William Dart, New Zealand Herald
It was this sensitivity that impressed the most, culminating in a flexible and liquid account of the famous “E lucevan le stelle” characterized with some truly fine gradation of dynamics, virtues that continued throughout the following duet. Bringing out the poetic side of the character made an ideal contrast with the heroics of Cavaradossi the revolutionary, O’Neill trumpeting out elongated A flats in the "Vittoria" scene in the most thrilling fashion. All in all, this was actually the finest singing I’ve heard from O’Neill, even including his estimable Wagner.  Simon Holden, Bachtrack
While other Wagnerian singers might have struggled with Puccini’s honeyed score, O’Neill seemed to relish the opportunity. His bright, forward tone may not be truly Italianate in sound, but he made good use of it projecting an ardent and passionate lover, and found heartfelt pathos with his moving rendition of “E lucevan le stelle” in Act 3. Michael Sinclair,


Der Fliegende Hollӓnder

Ravinia Festival/Chicago Symphony Orchestra, James Conlon

In its bright timbre, high placement and absolute security throughout its range, the fine, musical tenor of New Zealand native Simon O'Neill, another Ravinia debut, made him ideal casting as Erik, Senta's ardent if hopeless suitor.  John von Rhein, Chicago Tribune
As Erik, Simon O’Neill ardently conveyed the passion of Senta’s suitor who is ultimately hapless as he is no match for the mystique of the unnamed Dutchman.
Sam Jacobson, Bachtrack
Simon O’Neill sang with pleasing suppleness as Erik, the man who never had a chance with Senta, because even before she meets the Dutchman she has fallen in love with his portrait and his plight. L. M. Rantala, Hyde Park Herald


Siegfried and Goetterdammerung Final Acts

New Zealand Symphony Orchestra, Pietari Inkenen

The NZSO was as much the star as its high-powered soloists... We experienced some of the greatest love scenes in the operatic repertoire, delivered with utmost intensity and passion by O'Neill and Goerke. In their meeting you can feel a rush of almost erotic excitement with Goerke's unforgettable mix of fear and anticipation on first sighting her lover... O'Neill was the perfect partner and watching the emotional interplay between the two was as compulsive as enjoying a good movie... O'Neill is first to die, and did so with a moving "Brunnhilde, Heilige Braut"... William Dart, New Zealand Herald


Otello- Title role

Houston Grand Opera

'Tenor Simon O'Neill's trumpet of a voice traced Otello's entire tragic path, from the triumphant ring of his entrance to the raw edge of desperation that took hold as the deception progressed.' Steven Brown, Houston Chronicle, 25 Oct 2014
'O’Neill’s best moment was when he cried out for peace and military glory in Otello’s 2nd act aria “Addio,” achieving that sweet yet full-bodied tone that is so hard to master in the upper range.' Sydney Boyd, Houstonia Magazine, 27 Oct 2014


Otello - Title role

Sydney Opera House

“The three main principals could hardly be better. As Otello, New Zealand tenor Simon O’Neill is tireless and thrilling… he’s crystal clear even from the very back of the set. This is a reading of enormous panache, considerable vocal nuance and some of the most exciting top notes you are likely to hear on an operatic stage today. How rare and enjoyable it is to sit back and enjoy a singer in such a demanding role in full confidence that he won’t fall at any of the numerous vocal hurdles. The phrase-shaping of which he is capable, despite the gruelling requirements of volume or tessitura, is remarkable. And I’ve never heard so many of the words in a live performance of the role. The rapturous ascent to the top note as he sings “scendean sulle mie tenebre la gloria, il paradiso e gli astri a benedir” in the love duet is spine-tingling and the top note on “della Gloria d’Otello”, in the farewell-to-arms is hair-raising … He hurls himself around with gay abandon, and manages some pretty spectacular tumbles”

Limelight magazine, July 2014

“As Otello, New Zealander Simon O’Neill cemented his reputation as one of the world’s top heldentenors…O’Neill is another singer to make his mark by stepping in to a role at short notice — in 2009 in the title role of Otello with Sir Colin Davis and the London Symphony Orchestra. O’Neill’s projection is phenomenal, with an awesome upper register. Even more satisfying is his ability to sustain the intensity despite the demands of being on stage for a large part of the time.”


Tom Pillans , Manly Daily, 7 July 2014
“Simon O’Neill veered vertiginously between the vocal command of his first appearance as conquering hero, the tenderness of his first scene with Desdemona, the confused suspicion and the raging jealousy which later overcome him, and the utter defeat of the end. I have rarely heard such a convincing fusion of great singing and total character portrayal as in this performance of Otello, itself probably Verdi’s most successful opera in terms of theatre.”

The Australian Stage, July 2014
“As for Otello, the New Zealand tenor Simon O’Neill commands from the minute he steps on stage. From his re-entry in Act 1 where he seeks to silence the fray ("Abbasso le spade!"/"Down with your swords!"), O’Neill’s vocal and physical presence never wavers. Taught the role by one of the great Otellos, Placido Domingo, and fresh from a season of Wozzeck at the Metropolitan Opera, it is with single-minded intensity that O’Neill’s Heldentenor pierces through the psyche of the beleaguered Moor.”

The Guardian (Australian), July 2014
“Simon O'Neill's entry as Otello resounded with robust force and he maintained a focused and energised strength with flaming colour to the sound throughout the whole of this demanding role."

Sydney Morning Herald, July 2014



Royal Opera House Covent Garden

"Simon O’Neill’s Parsifal, on the other hand, was fully equal to Wagner’s demands"

Rupert Christiansen, The Telegraph, 1 December 2013
"Simon O’Neill plays Parsifal like Peter Grimes — a whiskery rough-diamond who could well have wandered into the wrong opera — with an agile brilliance" Michael White, New York Times, 2 December 2013
"Parsifal at the Royal Opera House is a spiritual experience

No quibbles with the cast. Simon O’Neill makes a tireless and thrilling Parsifal; in his battle with the compromised seductress Kundry (an electrifying Angela Denoke), he creates high drama of the first order.", 3 December 2013
"O'Neill's shambling Parsifal, his tone slightly raw-edged, is perfectly suited to the production" Andrew Clements, The Guardian, 1 December 2013


Die Walkure - Siegmund

Royal Albert Hall, BBC PROMS

"The powers-that-be did not relent for Die Walkure...For this was an enthralling performance in every respect, led by Daniel Barenboim...Simon O'Neill's Siegmund was rock-steady and heroic - a fine match for Anja Kampe's thrillingly vocalised Sieglinde" The Telegraph, Rupert Christiansen, 23 July 2013


Die Walkure - Siegmund

Teatro alla Scala, Milan

"Simon O’Neill è un Siegmund dalla voce omogenea, di un colore adatto alla tipologia vocale, anche se esordisce con pochi armonici e negli acuti il timbro si deforma leggermente. Nel lungo monologo e nel duetto con Sieglinde, però, la stessa voce si riscalda e assume toni più vibranti, offrendo il meglio con l’enunciazione del tema dei Ghibicunghi (tema di dolore per la morte, lo stesso che apre la celebre marcia funebre di Siegfried nella Götterdämmerung). L’invocazione al padre, Wälse, si traduce in una corona tenuta a lungo dal tenore, con squillo appropriato, mentre in orchestra emerge finalmente, dopo laboriosa preparazione, il tema della spada: è il momento in cui O’Neill diventa buon Heldentenor, come conferma anche il bellissimo arioso finale «Winterstürme wichen / dem Wonnemond» (Si è arreso il gelo / al chiaro tepore), un inno alla primavera che rimanda alla vocalità femminile e materna di Sieglinde."

("O'Neill Simon Siegmund is a voice from the homogeneous , a color suited to the type of voice, although his debut with few harmonics in the treble and the stamp deforms slightly. In the long monologue and duet with Sieglinde, however, the same voice warms up and taking on a more vibrant, offering the best with the enunciation of the theme of the Gibichungs (theme of grief at the death, the same one that opens the famous funeral march Siegfried in Götterdämmerung ). The invocation to the father, Walse, results in a crown long held by the content with appropriate ring, while in the orchestra emerges finally, after laborious preparation, the theme of the sword: it is the time when O'Neill gets good Heldentenor , as confirmed by the beautiful airy final "Winterstürme WICHEN / dem Wonnemond" ( It has surrendered the freeze / warmth of the light ), an ode to spring which refers to the female voice and maternal Sieglinde.")
Michele Curnis, GBOPERA, 6 July 2013


Die Walkure - Siegmund

Bayerische Staatsoper

"Simon O’Neill was a sturdy, stalwart Siegmund singing with fluid, burnished tone. As his sister-bride, Petra Lang embodied all her familiar strengths (fulsome, warm tone in all registers) and shortcomings (sometime sluggish phrases above the staff and occasionally veering north of the pitch). Together, the pair brought thrilling immediacy, spontaneity, and yes, erotic passion to their Act One duet"

James Sohre, Opera Today, 26 February 2013


Die Walkure - Siegmund

Royal Opera House, Covent Garden

"Simon O'Neill brings lyricism and vocal beauty to Siegmund, as well as real thrill in those big moments when he demands the sword his father has promised and when he accepts the name that Sieglinde has given him.", October 2012
"As Siegmund himself, Simon O’Neill gave a moving performance, singing with huge conviction and animation, and with fine chemistry between him and Eva-Maria Westbroek as Sieglinde. Faced later with Brünnhilde in Act II his So grüsse mir Walhall (Then greet Valhalla for me) was simply riveting."

Wordpress, October 2012
"Simon O'Neill and Eva-Maria Westbroek are heartbreaking as Die Walkure's incestuous twins Siegmund and Sieglinde, and Antonio Pappano's conducting of both operas continues to generate luscious and dramatic sounds in the pit."

The Metro, October 2012

Gurrelieder - Waldemar, BBC Proms

Royal Albert Hall London

"The role of Waldemar demands a Wagnerian Heldentenor of the highest calibre. The New Zealand tenor, Simon O’Neill acquitted himself superbly. It is no surprise that he is in demand as both Siegmund and Siegfried throughout the world."

Opera Brittania, August 2012

Der Freischutz - Max, LSO and Sir Colin Davis

Barbican Centre

"Firstly Simon O’Neill was a superb Max and every bit the equal of René Kollo whom I also have heard sing this part even though he lacks the innate lyricism that was a remarkable part of Alberto Remedios’s voice. O’Neill’s voice was expressive and he sang remarkably effortlessly for such a demanding role. He is popular at Covent Garden so the Royal Opera’s next Parsifal could be their next Max if they wanted to put Der Freischütz on again soon."
Seen and Heard International , April 2012
"As Max, Simon O'Neill went to town with his heldentenor voice, which maintained a strong, clean line through phrases, and even at the top of its register still felt relatively light."
OMH Opera Review, April 2012
"Recorded in April 2012 at London's Barbican, this live concert performance of Weber's Der Freischütz is a moving testament to the late Sir Colin Davis, as well as a thrilling performance in its own right, with top soloists: Christine Brewer in dramatic full throttle as Agathe, a pure-toned Sally Matthews (Annchen) and Simon O'Neill urgent and ardent as Max." Fiona Maddocks, The Observer
"Simon O’Neill is Max, the ‘free-shooting’ hunter of the title, and his rock-steady voice blazes like gold as it goes into his higher register." 
Sinfini Music (UK), May 2013
"The winning cast is headed by the tenor Simon O’Neill, who brings both heroic heft and Mozartean lyricism to Max." New York Times, Anthony Tommasini, 21 June 2013


Fidelio - Florestan

Houston Grand Opera

"Houston Grand Opera's thought-provoking Fidelio boosted by extraordinary singing of Karita Mattila and dream cast...New Zealand tenor Simon O’Neill is a powerful Florestan to Mattila’s Leonore, his dark entrance in Act II, with a seemingly endless appeal to God’s mercy, is perhaps one of the most difficult entrances in all of western opera. He has a glorious hero’s voice. When he implores the forces that be to illuminate his plight, he uses Beethoven’s ascending lines to reveal the character’s emotions along with convincing dramatic acting. O’Neill can be hauntingly quiet, too, as demonstrated in the final lines of his aria: “let not the star of the weary fade."

Cutluremap Houston, October 2011
"Beethoven's only opera (1805, revised 1814) is a mighty ode to joy, political freedom and conjugal bliss. Houston Grand Opera's production, anchored by radiant performances from international superstar soprano Karita Mattila and majestic tenor Simon O'Neill, bursts forth with thrilling theater and approaches, at times, true grandeur...Throughout Act II, O'Neill mesmerizes. With his crystalline Italianate voice, he scales Beethoven's regal vocal line, starting with an unnerving, gut-piercing "Gott, welch Dunkel hier" ("God, how dark it is here") and his energy never flags."

Houston Press, October 2011
"Simon O’Neill gave an electrifying performance as the heroic Florestan…engaging and poignant."

The National Business Review, October 2011


Parsifal - title role

Bayreuth Festival

"Simon O’Neill made his official debut in the title role (he actually sang at Bayreuth for the first time last season, filling in for the ailing Jonas Kaufmann for a single "Lohengrin") and performed with his accustomed intensity, commitment and beauty of tone."

Musical America, August 2011

"Simon O’Neill sang beautifully as Parsifal", July 2011




Verdi, Otello. 

Orchestra and Chorus: London Symphony. Conductor: Sir Colin Davis. 
Tenor: Simon O'Neil. Bass-Baritone: Gerald Finley. Soprano: Anne Schwanewilms.
LSO Live

Father and Son - Wagner Scenes and Arias

Simon O'Neill's solo album for EMI Classics.

"Simon O'Neill's first solo album for EMI Classics features scenes and arias from Wagner's Lohengrin, Die Walküre, Siegfried, Götterdömmerung and Parsifal. O'Neill, one of the most exciting tenor voices of his generation," is partnered by the New Zealand Symphony Orchestra under conductor Pietari Inkinen."

EMI Classics