Nightwish
Dark Passion Play

Dark Passion Play: what better title for a work born in the worst period of Nightwish's history, namely the one following the divorce from Tarja when the pressure of unwanted fame, the oppression of the music business, and the uncertainty for the future inexorably crushed Tuomas Holopainen and his creation towards the darkest work ever composed by the Finnish band?

Because Dark Passion Play is above all a representative album of the period in which it was created, a period that Tuomas wanted to symbolize even through the comparison with the Passion of Christ (Passion Play).

From the very first listen, however, two things immediately stand out: firstly, the resources available to Holopainen and Co. this time were truly Guinness World Records material, with a full orchestra and Abbey Road studios post-Beatles included. Secondly, nothing is as it was before, and behind the microphone, the trademark, the operatic voice of Turunen, which with its unmatched beauty almost single-handedly contributed to the band’s success and immense fame, has been replaced by an anonymous and rather unsuitable Anette Olzon for some roles. The girl is indeed an excellent vocalist, but her performance decidedly lowers the level of some songs, to the point of causing an unhealthy yet unpleasant sense of nostalgia after prolonged listening.

The album indeed has almost a double face: pleasant immediately, it reveals its fragility after extended plays, unlike its predecessors, which remain evergreens many years later. On the other hand, though, there is a noticeable influence of a path followed also by "colleagues" Within Temptation, that of a metal as catchy as ever and easier to consume compared to the past, and a decisive cut with all that was "before".

The strengths, however, those that distinguish Nightwish from any other band or dull symphonic metal imitation, are all present: the band's typical melodies, the blend between classical and heavy, and Tuomas' dreamy lyrics are in striking form: the album starts majestically with the breathtaking The Poet and the Pendulum, a quarter-hour journey into Tuomas's saddest feelings, masterfully told by growls and orchestra. A true gem, which unfortunately tends to tire quickly. It then moves on to the devastating Bye Bye Beautiful, blatantly dedicated to Tarja, a catchy, heavy, and fun song that has everything in place and is enjoyable. The third track is the second single: Amaranth, a dreamy rock anthem that evokes untouched Nordic landscapes and still relies on its hook that sticks instantly. The start, therefore, is really along the line of more commercial music mixed with the typical elements of metal, but from the fourth track onwards the real album emerges: Cadence of Her Last Breath and Master Passion Greed are indeed very heavy songs, more so than the band has done so far, in which Anette's performance (present only in the fourth track), so far excellent and absolutely satisfying, shows its limits. The very heavy fifth track is entrusted to Marco, a truly remarkable power metal song.

In the sixth track, we find Eva, Anette's calling card: within the context of the entire album, it makes a really good impression, and the music doesn't lag behind either. If as a single it seems boring, here it is more than acceptable.
Sahara, Whoever Brings the Night, and For the Heart I Once Had instead transition from more aggressive guitars to pop-rock melody, all tied together by Anette’s voice: the same considerations apply to them: great songs, but rendered a bit too anonymous by the vocalist and in the long run might become tiresome.

Absolutely extraordinary is the tenth track: The Islander, an acoustic song by Marco Hietala that shares with Amaranth the bucolic component. A true gem.
The eleventh track (Last of the Wilds) is an absolutely pleasing and well-executed instrumental that highlights the skills of the orchestra and the musicians employed.

It concludes with Seven Days to the Wolves, a completely unnecessary and uninspired song, in which Anette gives her worst, serving as a prelude to the second treasure of the album: Meadows of Heaven: a sweet and melodic song, it is a mix of the band's most dreamy atmospheres, along with Anette's best vocal performance and unconventional yet inspiring choirs and orchestra. It's just a shame it ended up at the bottom of the album.

The bonus tracks, included in the singles and deluxe versions of the album, comprise two little masterpieces that make you wonder why they were not included in the standard album: While Your Lips Are Still Red, a hymn in which love and nature unite in Marco’s deep voice, and the hidden gem The Escapist, a real must by Annette and a manifesto of the band's current music, a melody that captivates and uplifts as the band’s previous chart-topping singles have done in their time.

In conclusion then: Dark Passion Play is an album too much a child of its time, where the magnificent production contradicts the lack of fundamental control, resulting in an almost incomplete masterpiece. The lack of a guiding thread makes the listening dispersive, Anette’s fluctuating performances at times cause anger and irritation, but if listened to with the right approach and the right mindset, it is the new great excellent work by Nightwish, absolutely unmissable if there are no prejudices and one does not look to the past with nostalgia. The kings of symphonic metal remain them. With more attention it would have been a five.