MIT

What an exquisite package from this talented group from Italy! We are given a mammoth booklet (almost a libretto!), gorgeous cover artwork as well as a superb set of operatic Italian Symphonic prog that mixes the traditional elements of the genre with some new ingredients that give "Mit" a unique flavor. As with fellow countrymen Minstrel, the vocals here are strongly in the classical Italian opera vein, with the rich voice of Marco Bertolissi escorting the "sopranesque" input from stunning female singer Annalisa Malvasio. A string quartet adds to the classical feel with great effect. There is also a slight almost imperceptible zeuhl feel at times that is very welcome. The core band is composed of guitarist supreme Roberto Sgorlon, fluid keyboardist Paolo Paroni, bassist Paolo Maestrutti, drummer Fabrizio Morassutto and acoustic guitarist Fabio Giacomello. "Secretum" is a fantastic introduction of moody synths, whispered chanted voices, roving bass, marshalling drums, and building up to classic orchestral crescendo. The second track, the first "A" is a very brief and simple melody duet, introducing the two singers with a sprawling piano arrangement, deft fingers rolling over the keys. "Le Refuge du Temps" is the first outright gem, the acoustic and electric guitar constructing a web of melody, with an initial Annalisa scat-singing aria providing the platform for a furious Sgorlon guitar foray that sweeps sideways as much as it burns forward. She then unleashes a spirited rock lead vocal that soars over the mournful cello (ah, what brilliant instrument!) and then a more operatic solo that precedes the glorious rocking main theme, a masterpiece of mood and feel. The first of brief acoustic/string quartet interludes only adds more sheen to the grandeur. "Words in the Shadow of Life" is the second jewel, an English language male vocal highlighted by a masterful electric guitar solo that is pure melody incarnate, the acoustic playing foil. The second "A" is Annalisa doing her super-lung aria thing again, piano accompanying her on a towering flight, her powerful voice squeezing out emotion with impunity. "Panna's Dreams" retains a tender and breezy lilt, almost country-style acoustic folk, with a sweet air. The 7 minute + "The Search" is the third marvel, a gruesomely atmospheric assault, with steamroller rhythmic guitars and immense church organ howls, sudden acoustic guitar interjections passing the torch to a trio of sizzling Sgorlon leads, some bluesy masculine vocal work with the incredible Malvasio wailing with passion (a wink at the Great Gig in the Sky?), a zipping synth solo and some fine pinpoint drumming by Fabrizio. The string quartet provides another sorrowful interval that constantly keeps the music flowing, avidly awaiting the next surprise. "The Lord of Fire" is the fourth diamond, a violin-led musical mountain of absolute utter beauty, a goosebump provoking lead vocal plaint from Marco, more wailing from Annalisa and an imperial piano outro. "Flowing Down the River" is a classical guitar and piano collaboration that seeks to express the majestic flow of a watercourse as it meanders emphatically towards its destiny. "The Glance of Giada" is another 7 minute + piece that finally encapsulates all the ingredients that makes this such a terrific album, this time opting for a rockier mood, with more huge guitar and synthesizer follies and a middle section that reintroduces all the acoustic constituents, including the orchestrations that add all the mystery to the overall feel. A fiery, unrestrained Sgorlon blast puts this to rest perfectly. "Happiness", like the title implies is a brief musical smile. The disc ends with an uncredited acoustic guitar goodbye, gentle, almost infantile, utterly peaceful. 4.5 quasars