TOBIAS SAMMET'SAVANTASIA
THE METAL OPERA (2001)
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The Metal Opera part 1 was actually not as operatic as I expected. I enjoyed this one more than the sequel because this actually has the right to be called a metal opera, even for its flaws. The choruses are more interesting than standard Edguy work and the instrumentation is intricate, with an electric, metallic sound. Also, this part of the Metal Opera has a story that the listener can follow without having to read eight pages of information in the CD booklet.
This is still essentially an Edguy album with a host of guest singers. None of them bring anything new to the table. Because the music was written by Sammet, they are all singing in his style. Their voices may sound different, but they left behind their unique styles to sing the way Sammet does. The amount of guest singers makes this more operatic than a standard Edguy album, but it doesn’t qualify as a full Metal Opera to my ears. It would be more diverse if it were truly operatic, and it is possible to achieve that without sacrificing accessibilty. There was no need to dumb down the other talented singers in this music. Sammet could have incorporated other power metal bands’ sounds here to build a gorgeous and unprecedented masterpiece. Farewell is probably the best example of this for its folk elements, putting it on another level from the rest of the album.
When Hansi from Blind Guardian guested on Vain Glory Opera you could hear a unique addition to Edguy’s standard sound, but perhaps that’s why Sammet didn’t have him work on the Avantasia Operas. His name is smeared all over this work. While it holds up very well against other power metal albums, it doesn’t sound as unique as it could. I’m not talking about going overboard like Rhapsody with narrations and such, but it could have been a more interesting work of art if Sammet had not smothered it.
This is still essentially an Edguy album with a host of guest singers. None of them bring anything new to the table. Because the music was written by Sammet, they are all singing in his style. Their voices may sound different, but they left behind their unique styles to sing the way Sammet does. The amount of guest singers makes this more operatic than a standard Edguy album, but it doesn’t qualify as a full Metal Opera to my ears. It would be more diverse if it were truly operatic, and it is possible to achieve that without sacrificing accessibilty. There was no need to dumb down the other talented singers in this music. Sammet could have incorporated other power metal bands’ sounds here to build a gorgeous and unprecedented masterpiece. Farewell is probably the best example of this for its folk elements, putting it on another level from the rest of the album.
When Hansi from Blind Guardian guested on Vain Glory Opera you could hear a unique addition to Edguy’s standard sound, but perhaps that’s why Sammet didn’t have him work on the Avantasia Operas. His name is smeared all over this work. While it holds up very well against other power metal albums, it doesn’t sound as unique as it could. I’m not talking about going overboard like Rhapsody with narrations and such, but it could have been a more interesting work of art if Sammet had not smothered it.
1. Prelude
2. Reach Out for the Light
3. Serpents in Paradise
4. Malleus Maleficarum
5. Breaking Away
6. Farewell
7. The Glory of Rome
8. In Nomine Patris
9. Avantasia
10. A New Dimension
11. Inside
12. Sign of the Cross
13. The Tower
2. Reach Out for the Light
3. Serpents in Paradise
4. Malleus Maleficarum
5. Breaking Away
6. Farewell
7. The Glory of Rome
8. In Nomine Patris
9. Avantasia
10. A New Dimension
11. Inside
12. Sign of the Cross
13. The Tower
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