One point that perhaps has caused more
buzz among the followers, is the role of
Roberto De Micheli who faced the difficult
task of occupying the place that left Luca
Turilli, and, dear readers, Roberto has
exceeded that challenge by making clear
that he is a worthy successor with its own
merit and style.
In general, far from trying to relive past
glories, Rhapsody of Fire go another
way leaving behind the epic, heroic
and fantastic, landing his music into
something more aide to reality, in
moments Dark Wings of Steel becomes
dark, melancholic and disturbing,
although it has moments that these
feelings are cleared in some musical
passages and interpretations.
The orchestra is far from getting us back
to the “baroque” of the first productions,
it is used in a measured and intelligent
way, and, together with the choirs creates
that sound sometimes mysterious and
overwhelming.
Dark Wings of Steel begins, as is
customary in Rhapsody of Fire, with
a brief prelude, Vis Divina. The soft
voices of the choir begin in some kind of
spiritual song, it is then that the orchestra
makes its appearance and with the choir
adds intensity taking a turn that causes
excitement and drama.
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