New Zealand heldentenor, Simon O’Neill, is widely regarded as one of the finest Wagnerian singers in the world. Auckland Philharmonia’s Lucy Harris spoke to him ahead of his performance in the role of Tristan in our upcoming Opera in Concert, Tristan und Isolde.
Tristan und Isolde is one of the most influential works of art in history. From your perspective, what makes it such an important work?
After engrossing himself in the philosophy of Schopenhauer and completing much of the massive Ring Cycle - Das Rheingold, Die Walküre and the first two acts of Siegfried, Wagner turned to the story of Tristan und Isolde. In these works, Wagner revolutionised the structure of opera with his concept of the ‘Gesamtkunstwerk’ (total work of art), where he sought to unify music, poetry, drama, and visual. The Tristan opening prelude is, in my opinion, one of the greatest achievements for mankind – Friedrich Nietzsche described “a lasting sense of ecstasy,” and proclaimed the work to be “the real opus metaphysicum of all art…. insatiable and sweet craving for the secrets of night and death…it is overpowering in its simple grandeur.” Giuseppe Verdi said that he “stood in wonder and terror” before Wagner’s masterpiece. Well, one can’t argue with those two giants of humanity.
Wagner composed this opera over 150 years ago. Why do you think it still resonates with modern-day audiences around the world?
159 years ago, the opera Tristan und Isolde premiered at the Munich National Theatre, the very same theatre that I have had the honour performing Siegmund in Die Walküre and the title role of Parsifal. These operas explore universal themes such as love, power, betrayal, redemption, and the struggle between good and evil, which make them timeless and continue to be relevant to human experience. At its core, Tristan und Isolde is a profound exploration of love, passion, and longing - the characters undergo a massive development throughout the opera, which allows the audience to see parts of themselves in these characters. The role of Tristan is ‘The Everest' in the operatic repertoire - it is a huge challenge to negotiate not only the extremely difficult vocal demands but the psychological decay and ultimately physical decay of the character. A small titbit - in my score, during the third act, I have drawn a picture of Mount Everest on a certain page…. once the singer has made the vocal summit, he must then, with extreme fatigue, descend the rest of the vocal mountain. Interestingly, more people vocally perish on the descent of this operatic Everest than the ascent.
This year’s Opera in Concert production is a rare opportunity to see Tristan und Isolde performed in New Zealand. What makes this a special opera to see performed live?
I am so thrilled to be part of another Auckland Philharmonia Opera in Concert, having previously performed the title role of Otello, and Florestan in Fidelio. Our wonderful country has had opera running through its veins since the early 1860s - I think this is partly the reason that New Zealand produces many first-rate opera singers internationally. Auckland Philharmonia performs a lot of opera which makes them an orchestra that is knowledgeable on the repertoire which helps greatly the singer on stage.
Watching this opera performed live has been described as a life-changing experience. Why do you think it has such a profound impact on audiences?
This opera, with its unique harmonic treatment, is arguably the work that revolutionised classical music. Any orchestra or opera company that programmes Tristan und Isolde has undertaken a huge commitment. This work takes great courage and planning - a large orchestra, specialised vocalists and conductor, and a male choir. As with all Auckland Philharmonia’s Opera in Concert performances, I know the audience members love being so close, so immersed in the orchestral, as well as the vocal, music of these masterpieces. I hope (know) Tristan und Isolde will impact much of the audience with its most glorious music.
This opera was written to be fully staged with an orchestra in the pit, but performed in concert the orchestra is up on stage next to you. How does your experience performing differ with the orchestra on stage?
In Wagner’s Tristan, the cello, oboe, the cor anglais and the complete orchestra are all equally as important characters as the singers in the portrayal of the opera. I love opera in concert for this reason - it gives the audience the opportunity to see, as well as hear, the instrumentalist in this light. As performers and audience members, we are blessed to have the gorgeous acoustics of the Auckland Town Hall as our concert space. Such a hall gives the experience tidal waves of, not only emotions, but also massive audio.
Major roles such as Tristan involve many hours of intense concentration, how do you relax in your downtime between rehearsals?
The role of Tristan requires huge stamina, power and vocal fitness - to both start and finish the thing is a feat for many singers! I have been working this role for many years, having performed it over a dozen times, and I am so looking forward to having the honour of singing the role in my hometown for the Auckland Philharmonia. Obviously, vocal rest is essential and a sensible allotment of vocal use in the prior rehearsals is required. I absolutely love immersing myself in this role - I know it is a ‘ride’ that only a few people get to experience, but it’s ‘one hell of a ride!'
You have an incredible career, performing in some of the finest opera houses across the globe. What have been some of your career highlights?
Ha! I am often asked this question…the opening of the season for Teatro alla Scala with Barenboim, Salzburg Festival with Muti, the Met with Levine, Grammy Award with Dudamel, title role Parsifal at the Bayreuth Festival and the London Symphony with Sir Simon Rattle to name a few. I am so grateful for my career and have many amazing performance highlights. At the end of the day, the highlights of my life are the great kids that my beautiful wife, Carmel, and I have - everything else pales in comparison. If anyone is interested please visit simononeill.com to read my biography and follow my performance schedule.