Opera IX
The Black Opera: Symphoniae Mysteriorum in Laudem Tenebrarum

THE REVIEW

Formed in '88 in Turin, Opera IX began their career by delivering three masterpieces: the very dark and still raw "The Call Of The Woods," the more melodic and pagan "Sacro Culto," and the dark and esoteric "The Black Opera: Symphoniae Misteriorum In Laudem Tenebrarum". I am about to discuss the latter, not only because it's one of my favorite albums, but also because I believe it is the best of their career. Their sound is characterized by a mix of doom, black, and death metal that could more conveniently be defined as "occult metal," enriched by choirs, folk-style acoustic guitars, and symphonic keyboards. But the picture wouldn't be complete without a voice capable of urging the soul to transcend to higher spheres: a goal perfectly achieved thanks to Cadaveria's wicked voice, a true master in maneuvering through her screams while occasionally allowing for some clean interventions (unfortunately, after this album, she will leave the group along with the drummer Flegias).

The CD in question is a concept album, concerning the journey towards supreme knowledge of a spiritual warrior, which unfolds through the opening of six seals (represented here by the songs themselves). Essential in this regard are the lyrics which, drawing heavily from books on occultism and ceremonial magic, form true invocations. Notable is the length of the songs (ranging from a minimum of around 6 minutes to 10 and a half) which, however, never fall into prolixity. A solemn litany introduces us to "The First Seal", but soon translates into a fierce scream supported by tearing guitars that dazzle us with their monotony before launching into imposing tempo changes. "Beyond The Black Diamond Gates", instead, with its mystical cadence, gives us the impression of witnessing a real esoteric ritual, thanks also to the contribution of the beautiful keyboards and choirs which lend solemnity. A bolt from the blue "Carnal Delight In The Vortex Of Evil" where, even in its violence, it feels like we're breathing incense in an ancient, forgotten temple. Acoustic guitar breaks accompany the singer intent on proclaiming blasphemies on a dark altar. "Congressus Cum Daemone" is the longest track, where all elements of Opera IX's sound converge to create a rainbow of dark and infernal atmospheres. Listen to it if you want to know what the Romantics meant by the sublime. Then comes "The Magic Temple", an interlude that opens with crackling fire, the clinking of swords, whispers, to give way to an invocation recited by the singer in Italian, exploding into a final scream and guitar riffs. A magnificent piece. "The Sixth Seal" does nothing but summarize the main characteristics of the previous tracks, closing with unsettling sighs that make room for the bonus track, the Bauhaus cover "Bela Lugosi's Dead". I have to say that I never liked the original piece, but here it is rendered magnificently. Thanks also to the mainly clean singing, the song is decidedly more melodic compared to the rest of the record, revealing itself as a truly fitting ending.

Even from a graphic point of view, the CD does not disappoint thanks to an eye-catching cover and a booklet with truly inspired images. The entire album should be considered if not a masterpiece (and it’s close), an excellent work. A must for fans of the darkest and most fascinating metal, you cannot resist the charisma emanated by a figure like Cadaveria. An ideal soundtrack for any kind of esoteric ritual.