In the 1980s, Trans-Siberian Orchestra creator Paul O’Neill was on a trip through the Russian region of Siberia where the famed Trans-Siberian Railway makes its way from Moscow to Vladivostok. Travelers can make an epic voyage with ever-changing scenery as the train traverses through rugged mountains, untamed forests, rolling plains, busy metropolises, majestic river valleys and along the Pacific coastline.
Much like the train, the Trans-Siberian Orchestra takes concertgoers on a sweeping journey through a wide range of music, shifting effortlessly between thrash metal renditions of holiday classics, to rock ‘n’ roll, classical, R&B, blues, jazz, folk and opera — all played as the soundtrack behind a narrated storyline and performed with grand special effects including explosive fire, mystical snow, elaborate lasers, rising platforms, digital projections, fog and smoke.
Credit: Jason McEachern
Credit: Jason McEachern
Early in his career, O’Neill, who died in 2017, was both a guitarist for touring musicals (“Jesus Christ Superstar” and “Hair”) and helped manage bands at Leber-Krebs (the management company behind acts including Aerosmith and AC/DC). In the ‘80s, he produced the heavy metal band Savatage. To create Trans-Siberian orchestra in 1996, he recruited the help of Jon Oliva (lead vocalist of Savatage), Al Pitrelli (formerly the lead guitarist in Alice Cooper’s band) and Robert Kinkel (a composer and keyboardist who worked with Savatage). The metal-influenced powerhouses helped shape the music.
O’Neill was also drawn to literature. In an interview posted to the orchestra’s YouTube channel in 2012, he cited a range of musical influences (such as the Who, Pink Floyd, Queen, Beethoven, Mozart, Four Tops and the Temptations) as well as literary inspirations (including Oscar Wilde, John Steinbeck and Charles Dickens). It makes sense then, that he was inspired to create what he called a holiday “rock opera,” fusing a narrative-driven, theatrical storyline with the spectacle of rock concerts, vocal prowess of opera and an orchestral ensemble.
“The whole idea,” he once explained, “was to create a progressive rock band that would push the [genre’s] boundaries further than any group before … Way, way further.”
Over the years, O’Neill wrote a trilogy of shows, each with their own storylines. Though not a continuous narrative, the trilogy is connected by production style and motifs. The orchestra has cycled through each chapter of the trilogy in addition to performing some offshoots. The third chapter of O’Neill’s trilogy, titled “The Lost Christmas Eve,” tells the story of a bitter man, burdened by regrets, estranged from his family, who, through a series of interactions with interconnected people in New York City, finds hope, redemption and reconciliation.
“When I was working on ‘Lost Christmas Eve’ with Paul O’Neill, we talked a lot about time,” remembers Pitrelli, who now serves as the show’s writer and musical director. “He said that losing money or things wasn’t as bad as losing time. … He always thought it was never too late to change. Never too late for forgiveness. People can make things right, forgive each other, and reconnect. ‘The Lost Christmas Eve’ is about that hope: it’s never too late for any of us.”
The corresponding double-platinum album by the same name was released in October 2004, which means “The Lost Christmas Eve” is celebrating its 20th anniversary. In recognition, the Trans-Siberian Orchestra is touring the show for the first time in its entirety since 2013. However, Pitrelli says it’s even more spectacular now.
“There’s been such crazy growth in technology for our department heads, so what they can do this year to bring to life visually they couldn’t have even dreamed up 12 years ago,” said Pitrelli in a televised interview. “It will be our biggest and best and most over-the-top show yet.”
Illustrating the scale of the touring show, Pitrelli said last year he counted roughly 21 tractor trailers and 12 buses to take the high-tech production from city to city.
In addition to the 20th anniversary, the orchestra is also celebrating two other milestones: 20 million tickets sold, and $20 million made in donations to charity. Since its beginning, the orchestra has donated at least $1 of every ticket sold to nonprofits with numerous causes, including food insecurity and children’s welfare. This year’s Atlanta matinee performance will benefit Atlanta Community Food Bank while the evening performance will benefit Hope Atlanta.
This year’s ambitious tour, which kicked off in Council Bluffs, Iowa, on Nov. 13 and ends Dec. 30 in Toronto, includes 110 performances in 66 cities across North America.
CONCERT PREVIEW
Trans-Siberian Orchestra
2 and 7 p.m. Sunday, Dec. 15, at Gas South Arena. Tickets start at $49.99. 6400 Sugarloaf Parkway, Duluth. trans-siberian.com/tour.
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