I have been a moderator for Reddit’s r/metal for a while, and I remember when we had posts about classical music and its relationship with metal. I am sure classical forums also get the same question, and even a quick search of “classical music metal” yields a handful of people posing similar queries: “Is there a relationship?” “Is this cool classical piece I like metal?” “Could this metal band be popular in 1721?” “Are the two genres distant cousins?” People want there to be a musical or historical link between these two genres since they are so far apart aesthetically and culturally, with one seen as high art while the other is subterranean. Their hypothetical union would be some sort of defining new art.
Despite there being no historical connection between the two outside of both being music, it does not mean that classical and metal do not meld at times. Symphonic power metal (or even symphonic metal) is popular and albums like Metallica’s S&M (1999), Cradle Of Filth’s Damnation And A Day (2003), and, if you are ready for bed already, Deep Purple’s Concerto For Group And Orchestra (1969) are all instances of big name metal and hard rock bands being accompanied by some level of orchestration. Opus Diabolicum – The Orchestral Live Show, the recently released live album by the Portuguese gothic metal band Moonspell, steps into this small area with the help of the 45-piece Orquestra Sinfonietta de Lisboa and Maestro Vasco Pearce de Azevedo.
Fernando Ribeiro, co-founder and singer of Moonspell, was kind enough to answer some questions I had about the record. Being able to ask these questions (with the help of Natalie of Napalm Records) enlightened me to the fact that I have no idea of the type of work that goes into this sort of endeavor. Opus Diabolicum, for its entire 90-minute run time, feels enormous yet natural for a band who has spent most of their career constructing a kingdom of atmosphere. The translations of popular Moonspell material, like the closing of “Full Moon Madness” and the orchestral overtures of “Tungstennio” and “Proliferation” that prelude both discs of the physical album, feel like that mythical meld of classical and metal where the two create cinema. The band and the orchestra maintain a mood that proposes an alternate history of metal and classical music, one that fuels fantasies that lead people to investigate the relationship between the two.
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Opus Diabolicum is a two-part record that’s almost two hours long. What was the process like for choosing material to be translated to orchestration?
To play with an orchestra involves some negotiating. We have to consider that some of the songs Moonspell picked were extreme and fast, and that takes a toll on classical musicians. Also, we had to consider songs that would work with orchestral arrangment. “1755” was pretty obvious to us, due to its symphonic flair already, yet we had also to look into evergreens like “Vampiria” (that turned out great), and to keep some surprise effect, dynamics, and narrative, thus choices like “Proliferation,” “Finisterra” and “Everything Invaded,” which were not so “obvious.” Having said that, Filipe Melo, the arranger, did the “translation” through his beautiful 250-page score for Moonspell’s original music.
Vasco Pearce de Azevedo is the conductor and has one credit now on Metal Archives. How did they end up directing for a Moonspell record?
We knew each other from the past and I watched his Sinfonietta play a couple of times live. Sinfonietta is not what you call a regular orchestra, but more of a “task force” that comes together for special projects like…playing with a metal band. Maestro Vasco hires and conducts not only the best musicians, as well as the ones with better personalities to take on such enterprises. He’s a true leader and it was rewarding to work with him.
This album was recorded live near Halloween in 2024. Were there always plans for this to be an event that would be released as a CD? What was the process like compared ot other shows?
Well, first we had to establish the show and sell a few tickets. Then, this idea came into practice. Moonspell records a lot of stuff these days, it’s the age of content, and fans can’t live without content. In the past, due to the lack of investment and technological opportunities, we missed many chances of recording important moments in our career. Now, if we can avoid it, we will. As an important note, this DVD was directed by two Moonspell fans, Soraia and Flavio, from Of Dream and Drama Productions. It was their first experience recording something so “big” and they excelled at it. It was my personal gamble and they helped me win.
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What is your favorite classical (or related) work?
Fernando Ribeiro: Ruggerio Leoncavallo – “Pagliacci, Recitar! Vesti la giubba”
Pedro Paixão (keys and guitar): Rodrigo’s “Concerto de Aranjuez for Guitar”
Ricardo Amorim (guitars): Beethoven’s “Moonlight Sonata”
Maestro Vasco Pearce de Azevedo: Edward Elgar – “Enigma Variations”
Filipe Melo (arranger): Ravel’s “Piano Concert in G Major”
What classic metal album do you think would translate well to a large orchestra?
Blind Guardian’s Imaginations from the Other Side. I always thought there was something profoundly operatic on this album. Classical even. The way it’s written, the lyrics, the musicality, it opens the window to that vibe. I don’t know if it was ever done, but it would surely be awesome to watch and listen.
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Opus Diabolicum – The Orchestral Live Show is out now via Napalm Records as a two-disc CD as well as LP.
Jonathan Carbon writes about dungeon synth, new age, and noise over at synthdigest.com. He is also a moderator for r/metal, r/dungeonsynth, and r/vintageobscura.
