IMAGINAERIUM

This is the second album from Imaginaerium, and here Clive and Laura have taken a somewhat different tack as this feels way more like a band than a project. The initial idea for Imaginaerium and the resulting debut 'The Rise of The Medici' was when singer Laura Piazzai was performing in one of Clive Nolan's productions and she suggested to Eric Bouillette that he ought to compose something for her. He thought this was a great idea, and in turn contacted Clive for assistance with the lyrics, but this soon changed into a more collaborative work with both providing the music. I first came across Laura when she and Clive collaborated on 'From The Outside In' where Laura sang on new versions of some of his material, and in some ways, I feel this album is closer to that than the debut. One of the sad reasons for this is Eric sadly died way too young, so the leaders are down to just two. However, unlike that release, and more in tune with the debut, there are only three other musicians involved, with Luis Nasser (bass), Mirko Sangrigoli (drums, guitar) and Simone Milliava (guitar, acoustic guitar) with the feeling here is a band who are going to do much more than just this album.

'Siege' is available in multiple forms, but the one to get is the Ear Book with 32 pages and hard cover and 2CDs+blu ray with 44 minutes of original documentary. I only have the 2CDs, but that is just fine with me as that provides not only 19 songs (some reworkings of material on the main album), but a song version I never thought I would hear, more of that later. Laura is a wonderful singer, with great range and power, and she is quite different in style to Tracy Hitchings with whom she will always be compared given she is working with Clive in a similar manner to how he used to with Tracy 30 years ago. She comes from a more classical and theatrical background, and is much less of a rock singer, and this breadth and depth of style adds to the arrangements which find Clive moving somewhat in the more theatrical style he has been providing in recent years, yet there is always the feeling that this is a proper band at work and that this could be performed live by the same musicians (although there are of course multiple layers).

This does not sound like Arena, Clive's major band these days, and is certainly far removed from role in Pendragon, and the more I played this the more I felt it is a combination of 'Alchemy' and the much-missed Shadowland. The first time I ever saw Clive play live was on the infamous Lurve Ambassadors tour, while Shadowland's debut seemed to be always on the player as one of my daughters declared it her favourite ever album. Here we find Clive melding together two quite different styles with lyrics which are taking their cue from history and telling stories of times gone by. There are far too few lyricists who look back into British history, but here we commence with the wonderful story of Boudica (or Boudicea), queen of the Iceni, who rose up against the Roman occupation of Britain, with her defiance carved into history as a symbol of resistance. Tourists to London will probably look at the statue of 'Boadicea and Her Daughters' near Westminster Bridge and have no idea who she was, but to Brits she is part of our myths and legend, a spirit of unyielding rebellion.

Laura is in control right from the beginning, while Clive's arrangements are complex as he builds the layers of rock and theatricality, so much so that this album stands very much on its own, but one can also imagine this being performed more in a theatrical setting than a rock gig, although the songs are thematically related as opposed to telling one story. Interestingly, the delicate piano based "When My Eyes Are Closed" is about mental illness and the battle sufferers fight, which can be both invisible and numerous, yet unrecognised by others. "Never Burn The Cakes" is the story of a king who is widely recognised as one of the greatest and unifying rulers ever, King Alfred the Great, King of the West Saxons from 871 to 886, and King of the Anglo-Saxons from 886 until his death in 899. However, ask Britons who burned the cakes, and they will also say Alfred as he accidentally let some wheaten loaves burn while fleeing the Vikings. In many ways that is his legacy, which seems somewhat unfair. With strummed acoustic guitar, bodhran and Clive and Laura sharing vocals this is a very different song to the rest of the album.

The more I play this the more there is to enjoy and hear, and with Clive taking the lead on "The Last Arrow" one is reminded yet again of what a great singer he is, and how I would like to hear much more from him. That is one of the songs which is reworked on the second bonus album, but when I was sent this release, I checked out the track listing, did a double take, and immediately played the first song on the second disc. Back in 1994 Shadowland released a five-track EP, 'Dreams Of The Ferryman', designed to gain interest for their second album, 'Through The Looking Glass', which contained some songs not then available, including "Dorian Gray". The version included here 30 years after the original finds Laura providing plenty of passion while Clive accompanies her on keyboards. I do prefer the old version, but that may well be due to how many times I have played it, and maybe this will encourage some to look back at Clive's catalogue, which is deep and varied.

This is already one of my favourite albums of the year, and I envy those of you who live in Europe and will be able to see this performed, as this is a wonderful piece of art that all progheads will do well to seek out.

Clive Nolan has wasted little time in reigniting the torch of historical based concept prog, barely 2 years after the Tuscan perfidy of "The Rise of the Medici" debut and its unanimous success through out the progressive community. We move from the Machievalism of the Renaissance to a much older story, maintaining the struggle with the conquering Roman Empire this time as it crushed the rebellion of the ancient British Iceni tribe in AD 60-61. Boudica (Boudicca or Boadicea) was a warrior queen, who is revered as a patriot national heroine as well as a symbol for freedom and justice. British history books should be consulted in order to get the complete narrative for those who need context for this musical journey. This package is a 2 CD, and DVD affair, with splendorous artwork, just as theatrically intricate as its predecessor. Nolan is the leader in the charge of composing this sprawling opus, manning an arsenal of keyboards as well as performing vocal duties and orchestrating the arrangements. The delightful Italian diva Laura Piazzai is also back at the microphone, and she is a vocal whirlwind that has now elevate her craft even further to mercurial levels, as her performance throughout is impeccable. Mirko Sangrigoli takes care of the rhythmic package, both on the drums and guitars, aided by electric and lead axeman Simone Milliava. But the big news is the inclusion of one of my favourite bass players in the fuzzy/furry animal himself: Luis Nasser, he of Sonus Umbra, Kurgan's Bane and Luz de Riada. Luis is also a guest panelist on Pete Pardo's Sea of Tranquility prog site. Ten luscious tracks make up the main album with a bonus disc of outtakes, instrumental, acoustic and duet versions etc?Like any classical opera worth its name, the libretto can guide the listener through the epic events that span this momentous production, which should really be seen in a live setting in order to check out the lavish costumes, the over-the-top props, the sweeping arrangements, and towards the final bend, the proverbial velvet curtain with its rapturous applause.

As the house lights dim respectfully, and an expectant hush ushers the audience into their seats, "Cry Boudica" settles in with a rousing musical depiction of the tale at hand, as well as introducing the protagonists. Laura makes her stand at the front of the stage, her powerful voice sending shivers of delight, as she moves from sedate to defiant, and then to outright enraged as she arouses the needed message of courage to her troops if they are to defeat the powerful Roman legion made famous by emperor Augustus in conquering Spain (Legio IX Hispana). On the vigorously symphonic "The Final Redoubt "Laura's voice expresses the rage of having been flogged and seeing her daughters raped, so revenge is clearly on her resolute mind. Victory will be hers in Londinium (London but at the time, the size of Hyde Park), against all odds. The violins screech with impunity, as the rebellion makes its stand against Imperial authority.

Delving into a more wistful mood, not far from Sarah Brightman or even Kate Bush "Footprints" is crushingly sorrowful, wrapped in a colossal melody, Luis's bass thumping like a marching militia, Mirko's beats 'leaving footprints in the snow' and a searing phalange of spiralling guitars slicing through the flesh of the Roman enemy, as the soldiers retreat to the safety of their fortress. Melodically, an off the charts brilliant section, only surpassed by the "Footprints (Viking Walk)" seven-minute version at the very end of the Bonus CD, which in my opinion, is the absolute emotional peak of this entire project. Laura does not only vocalize with the very best ever, but the wailing vocal effect finale two moats away from towering magnificence, is a battle-stopping outright victory, forcing abject surrender. Clive Nolan proves once again that he has mastered the piano like the true maestro he is.

As the fog of war flutters over the battlefield, "All There Is To See" becomes a moment of post-trauma reflection, conjuring strength for the next clash, but only a brief respite. Ornate piano duels with Laura's vocal prowess, hushing serenely when required, discreet orchestrations yielding to the need to rest. "When My Eyes Are Closed" explains perfectly the exasperated reaction to the butchering carnage needed to defend your cause. Finding solace, while remaining unwavering is not an easy task, but it is necessary in order to remind oneself of the evil of humanity. The acoustic guitar strums a solemn vow, and the soldiers listen in fatigued awe, garnering strength as the electric guitars raise their spirits, for whom the bells toll. "To The Victor Go the Spoils" is an ode to freedom and defiance, refusal to be slaughtered or forced into slavery. The intricate arrangement veers into classical realms, with complex crisscrossing patterns of sonic fury and then calmer moments of silent reflection. The brief acoustic guitars and castanets surely reference the hated Spanish Legionnaires whose bellicose demeanour in seeking riches, honour, and glory shows nevertheless no mercy in battle. His is the most theatrical segment up to now and is a force of nature prog mini epic. "Never Burn the Cakes" serves as a companion piece, a slight deviation of mood, as both Nolan and Piazzai share the microphones, in a slightly lighthearted sing-along tavern feel.

Though vastly outnumbered, the Roman discipline disables the disparity, technique overwhelming passion as the rebellion begins to fail, "The Last Arrow" becomes a sign of imminent defeat, no longer able to resist the gruesome outcome, as 'the echoes of the dead are being ignored'. The background choir work and Nolan's pleading lead vocal highlights the eventual agonizing fate of the rebellion. The stillness of eventual surrender is ideally evoked by Laura's operatic aria of indictment on the abysmal beauty of "Deep", voice and orchestra disconsolate but still bravely accepting of what fate has brought. Clive's raspy and fatigued voice on "Blood Moon" initiates the final chapter, the calm before the storm that will ultimately seal their fate, the drums of war surreally announcing the bloodletting that explodes into thunderous vehemence and merciless wrath, the electric guitars skewering armor, the bass clobbering heads, and the drums ripping bone from flesh. Boudica's army was destroyed, neither women nor animals spared from the Roman sword. Her fate remains unknown to this day, either poisoning herself or perhaps feel ill but was given a lavish burial at a later date.

As an amateur historian, it is impossible not to be entertained by such verifiable events, as opposed to being endlessly obsessed by the fickle inner human condition, which has dominated humankind since the dawn of time. As Einstein once stated: "two things are infinite, the universe and human stupidity, and I am not sure about the universe".

That being said, the extra CD is an equally satisfying experience as it boldly carves into uncharted territory and is just as enjoyable as the main album. A definite winning concept and a necessary addition into the 2025 hall of fame, prog edition.

5 blockades

At the end of 2021 the musical multi-talent Eric Bouillette is diagnosed with pancreatic cancer. The Frenchman, known to us as the guitarist, keyboardist and violinist of the prog band Nine Skies, doesn't let that bring him down and he continues the Imaginaerium project he was working on with Clive Nolan and Laura Piazzai. Pancreatic cancer is the most severe form of cancer and Bouillette unfortunately passes away on August 21, 2022. It is a bitter note that the album's release was planned just a few weeks later. Everyone had hoped he could have witnessed it. Aside from a limited edition of only 300 copies a large-scale release is delayed for months. This delay is not primarily due to emotional reasons; a new label is being sought since the initially intended Anaesthetize has ceased.

Musically it is all as theatrical as one would expect from Nolan. The comparison with Caamora can be made to some extent, but the added strength in the music provides a nice distinction. This strength mainly comes from Bouillette's guitar, but the explosive drumming by Scott Higham and the powerful vocals of Piazzai also contribute their part. Furthermore in this project we see bassist Bernard Hery (Nine Skies), harpist Isabella Cambini and a number of male and female singers who portray the main characters on this album.

Let me first place the story in historical perspective. We travel back to the 15th century specifically to Florence. The powerful banking family Dei Medici has a lot of influence especially in the art world. Their power has been felt for centuries. "The Rise Of Medici" tells the story of Contessina and Cosimo sung by Laura Piazzai and Andy Sears respectively. It is an emotionally charged story because what starts with a beautiful marriage is overshadowed by Cosimo's adulterous behavior. Cosimo also stands in opposition to his political arch-rival Rinaldo (Clive Nolan) who ultimately deceives him and leads to Cosimo's exile from his beloved Florence. However, that doesn't last too long and after a year Cosimo is allowed to return to Florence where he is received as a hero.

This piece of personal drama is presented on a coherent album of twelve songs where variation and richness go hand in hand. The somewhat mysterious Festina Lente pulls you into the album. Elena Vladyuk sings the motto of the family make haste slowly in the role of descendant Lucrezia. She does this against a backdrop of church bells, chants of monks, and harp playing.

In the subsequent Duty Of Love, Laura Piazzai makes herself heard, singing that is. The first half of the song presents a still somewhat restrained Contessina until a delightful drum break sounds and the atmosphere shifts towards Nightwish. I also often think of Kayak during the Cindy Oudshoorn era. Fortunately her contribution to the album is significant because you enjoy listening to her very much so. Her voice sounds clear and powerful at the same time and it combines beautifully with the numerous orchestral VST sounds. VST (Virtual Studio Technology, i.e. software-based sound banks) is in my opinion the invention of the century.

The stately House Of Dreams is a captivating duet by the couple. What is remarkable (and this applies to the entire album) is that a good balance between rock and opera has been found. They never slide into questionable territory not even in The Tide Will Change, sung by Clive Nolan, which is a quintessential character song. Nolan already has the voice of a wicked little man like Rinaldo. He didn't have to twist himself into knots.

It is always astonishing how some bands can vary their style and still remain true to themselves. Bouillette and Nolan have really put their brains to work on "The Rise Of Medici". Serene songs like Never Close Your Eyes and Fall From Grace are alternated with the dark Treachery and the wonderfully sung Will I Never Return by Andy Sears. These songs also feature some Bouillette solos on violin and guitar while the focus of the album predominantly lies on the vocals. It is also delightful to be carried away by the euphoria of the last few songs.

"The Rise Of Medici" is an extraordinarily enjoyable album full of bombast, metal, melodiousness, theatrical delights, orchestral depth and fantastic singing. All of this is supported by an imaginative story. Because the album is overshadowed by the passing of Eric Bouillette, I cheer twice as much for it.

Originally posted on www.progenrock.com

Imaginaerium's debut opus The Rise of Medici is a modern symphonic prog rock music concept album that performs a service: bringing history into the present- lyrically and even instrumentally, with a complement of renaissance instruments plus occasional ringing church bells and chanting monks.

Italy-born powerhouse singer Laura Piazzai has politely fielded comparisons of Imaginaerium's music to Nightwish, suggesting a much more elegant approach has been taken than straight-up symphonic metal.

For one thing, there are four vocalists assuming specific character-roles, though Laura is the most dominant as Contessina. Clive Nolan, the lyricist, is also known as the longtime keyboardist of Neo-prog group Pendragon. He sings representing Rinaldo degli Albizzi, a longtime enemy of the Medici family. Also, the album is rich with broad approaches in how the songs are presented: utilizing different percussion, harp, choral, mandolin, acoustic guitars, as well as your customary metal guitar crunch, bass and drums- crashing cymbals and all.

If you're at all like I used to be and are turned off by operatic vocals amidst modern rock and metal, be reassured the style of singing on the album is thoroughly contemporary. One of the singers, Elena Vladyuk even has a Kate Bush-like voice, and the male singers sing with great character and spice. Oh, and it's all sung in English.

Sadly Imaginaerium's composer/guitarist Eric Bouillette, also a member of French prog band 9 Skies, passed away in the summer of 2022, causing a setback and blow to this new band. A regrouping took place and they are performing live.

Compositionally the album is rock solid, filled with distinct and strong melodies like Fall from Grace for example, which has all the hallmarks of an instantly classic melody. The calibre of musicianship throughout the album is high among the vocalists and instrumentalists alike.

There's no skimping here: The album is almost an hour, and the bonus CD has what I believe are radically alternate versions worth hearing and diving into, if not just as interesting as the main CD. The songs feature different and beautiful instrumentations and vocal duets, including more prominent use of the harp and other worthy experiments, plus interviews with the 3 core members Clive, Eric and Laura.... That's just speaking of the CDs. The album packaging is truly gorgeous and satisfying, setting a high bar that I wish all album releases could follow. Much thought went into the ear book design. Good thing too, as this is the kind of album that reading the lyrics adds much to the listener's experience. The history of the Medici's is brought to life with a tag-team of passionate singers.

Another bonus for male prog fans: When listening to The Rise of Medici your partner likely won't ask you to turn the volume down.

[Originally published at The Progressive Aspect]

I think this has been the hardest review for me to finish. The album itself is well out of my usual comfort zone, and realistically the reason I took it on for review is because Eric Bouillette was so clearly proud and excited for its upcoming release. The likelihood was, I guess, that it might be the last of his music that he would be around to see the release of. So with Eric's passing, much of my reason and desire to write the review was gone. I had already let him know what I thought of the album. I had hoped to finish the review in time for him to read it. My review has languished half-finished since Eric's passing. I considered passing the album onto one of my colleagues, because I was unsure if I would ever be able to finish this review. But I feel I owe it to Eric to complete what I've started, and also to the rest of the talented artists who have contributed to Imaginærium's impressive debut.

As aforementioned, The Rise of Medici is outside my comfort zone. There are still some aspects of the album that I find hard to get on with, but what struck and astounded me from the very first listen was just how much I enjoyed listening to this album. And from that first listen, the earworms had already dug themselves deep into my brain. There are several melodies from the album that I will find myself aware of humming or singing along to at all times of every day. I'm not sure there has been a day since I first listened to the album that one of these melodies has not accompanied me at some point. That remains the most impressive aspect of The Rise of Medici, as I cannot recall a time (if ever) where an album has so worked itself under my skin.

Essentially, The Rise of Medici is a rock opera, which is enough to send shivers through the spine of many (including myself). It is all too easy for such a concept to fall into realms of great cheese and corn, more deserving of the term bombastic than most prog reviews that use the term are. While a certain degree of bombast tends to be expected, even welcomed, in the realm of prog, calling something bombastic in general usage is a criticism. It implies a theatricality more powerful and staged than is present. Style over substance. Pretentious and pompous twaddle. Grandiloquent and grandiose nonsense. And, honestly, there is definitely some bombast here - but it's simply overpowered by the majesty and gravitas with which it is delivered, and in almost every case, easily forgiven.

The vocal talent on this album is phenomenal, with great individual performances that are taken to the next level (and beyond) when they sing together. It is the vocals that provide most of the bombast - but listening to the interviews at the end of the bonus disc, Laura Piazzai is even more bombastic when she speaks than when she sings, so it would seem almost inevitable that the vocals are as expressive as they are. I have to say I prefer the vocals of Andy Sears and Elena Vladyuk, to those of Clive Nolan and Laura Piazzai, simply because they don't take their performances so far into theatricality. And, in fact, I really struggle with Clive Nolan's performance, as he is trying too hard (for my liking) to play the villain, and it becomes cartoonish. It is somewhat reminiscent (to me) of Jeremy Irons in The Lion King, but that worked because he WAS a cartoon villain. Clive Nolan's villainy just seems a little out of place - though no doubt it is perhaps the most rock operatic voice, and if this were performed in a theatre, maybe I'd think his vocals were wonderful? I don't mean to be as harsh here as I possibly come across. Clive Nolan has a really good voice. His stylistic choice on this album doesn't work for me, but I am sure a lot of people will love it!

It is interesting to hear the alternate versions of some songs on the bonus disc as they can sound startlingly different, and many of my problems with the album are addressed on the bonus disc - including the singing style of Clive Nolan! Even after many, many listens, I still cannot easily choose which versions of the songs I prefer. Normally a bonus disc gets one or two listens, and is rarely (if ever) listened to again - but I listen to the bonus disc as often as I do the original, and I can't see that ever changing. It's a real treat for those that do go for the limited edition, so if there are still copies of this available, I would urge you to purchase while you can. Much of the subtleties that are present on the album can be heard more clearly on the bonus disc, where they are less subject to being over-powered by, well, the bombast. The interviews are interesting, too, and enlightening, but I doubt I will listen to those again. However, they are definitely worth listening to.

One of the aspects I most love about The Rise of Medici is Eric Bouillette's violin playing, which is just gorgeous. It's almost omnipresent, but never overpowering or oppressive. The violin almost acts as yet another vocal harmony - one more voice in the impressive vocal line-up of this album. It's not the only instrument Eric Bouillette plays here, but it's the one that he plays to the greatest effect, and one that really heightens the "Renaissance rock" sound, feel and style of The Rise of Medici. The compositions and arrangements really do give a sense of time and place, without sounding clichéd. It's all too easy for a rock opera to fall into the realms of pastiche, and to become almost a parody of itself. The Rise of Medici never comes even close to that, and this is a strength of the album that really needs to be emphasised, in my opinion.

One of my criticisms has nothing at all to do with the music, so much as the story, which doesn't quite match history at one point. Then again, this is a rock opera, and much like recent biopic films of musicians, is not designed to be entirely factual. Some literary licence is to be expected to make the story more powerful. In this regard, it's similar to the bombastic nature of the vocals ? a theatrical device that is more or less expected of a rock opera. And given that without the patronage of the Medici family, we would be unlikely to know opera (or even the piano) as it is now recognised, this seems appropriate, even if it rubs me the wrong way a little (just as I was by some contrary to fact details in the Bohemian Rhapsody biopic, which created a "better" story, at the expense of history).

Thus my only real grievance with the album are the lyrics to Will I Never Return?, implying that exile was a fate worse than death, and that Cosimo was not sure he would ever return. Cosimo was sentenced to death, and chose exile when it was offered. While there is no actual proof, it is presumed that Cosimo himself was instrumental in his narrow escape from execution, and certainly the involvement of his wife and "brothers in arms" (such as the monk Ambrose of Camaldoli) is recognised. Once it was a case of exile, rather than execution, that aforementioned patronage from the Medici family meant it was a case of when, rather than if, Cosimo would return to Florence. The Medici name drew strong loyalty, and Cosimo knew his patrons would follow his influence and money ? which indeed they did. Florence could not afford to let Venice, where Cosimo temporarily settled, continue to prosper at its expense, and inevitably invited the exiled Medici to return. Again, I have no real issue here, and I can totally understand the choice made with the lyrics. Like my ambivalence to Clive's style of singing on this album, my reservation here is purely individual and personal, and I'm sure most listeners won't be worried by it at all.

Any criticisms I have of The Rise of Medici, then, are trivial and subjective. For an album I wasn't sure I'd enjoy at all, I enjoy it immensely. It's not going to convert me into a rock opera fan - and it's still outside my comfort zone - but Imaginærium prove with this album that is it definitely sometimes worth looking beyond that comfort zone. The Rise of Medici is strong enough that I'm surprised to admit it might be one of my favourite releases of 2022. For those already more predisposed to listen to, and like, this sort of music, it should top your list! If The Rise of Medici is not at the top of several album of the year lists come December then it will only be because it has flown under the radar. I hope that this will not be the case, because this is an album that absolutely deserves to be heard.

A double CD,beautifully produced,chronicling the Rise of the Medicis. The artwork and presentation is superb and worth you owning the CD rather than downloading.

Very much a 'rock opera' with superb orchestrations from Clive Nolan and wonderful female vocals of Laura and Elena.Laura has fantastic range,especially on Duty of Love and Legacy.I love the remix duet with Elena on CD2 on,what is my favourite,'Fall From Grace,' Add "legacy' to that as it is a fantastic rousing end to the album. I think an orchestral mix would be superb of this album,though I love the harpsichord and harp which feature strongly on the album.

Definitely one of the best of 2022 and well worth seeking out the CD special edition.

The Florentine family originated north of Florence in the Murello region of Tuscany, gradually growing into a powerhouse of politics, religion, textiles, and banking, eventually producing four Popes of the Catholic Church. The family claimed to have funded the invention of both opera and the piano, helping in the construction of St-Peter's Basilica and wealthy donators to careers as illustrious as Boticelli, Michelangelo, Leonardo da Vinci, Machiavelli, and Galileo, among may others. Catherine de Medici would become Queen of France, famous for her rather ruthless persecution of the Calvinist Protestants or Huguenots. As much as I adore history, this is a music channel and therefore the relevance here is that we have a good old- fashioned source of progressive themes that can only encourage the musicians to further define their craft within a well-expressed storyline. Legendary keyboardist and arranger Clive Nolan (Pendragon, Arena, Caamora, ) and multi- instrumentalist Eric Bouillette (Nine Skies, Solace Supplice, ) are the main composers and players , with as befitting an opera, added input from a series of vocalists the incredible Laura Piazzai, Andy Sears of Twelfth Night , Elena Vladyuk and Mark Spencer. Scott Higham on drums, Isabella Campini on harp and bassist Bernard Hery complete the line-up.

This is a vocal heavy work with the focus clearly on the rambling and epic story, perhaps more ideally suited for a full stage performance with medieval costumes, full orchestra and band, crimson velvet curtains and generously tossed bouquets of flowers at the end. The CD comes with a 28-page libretto, so I guess that would be offered also during the ornate gigs at the Scala, the Royal Albert Hall or the Budapest Opera. As far as the music is concerned, the power moments are heavily orchestrated, shoved along by pulsating bass and powerful drums. The softer moments are sprinkled with one of my favorite (but not used enough) instruments, the elegant harpsichord, providing not only historical perspective but also incredible delicacy of sound. The impressive 'Duty of Love' is the first magical moment, as the piece evolves from a soft melody into a way more muscular arrangement as the drums pick up the slack, Laura has a voice that can shift into overdrive and things really start cooking. 'House of Dreams' keeps things rolling along, a female vocal duet, bombastic strings, delicate harpsichord, and a storyline that sharpens the hue on the main schemers. Cleverly contrasting sections give this arrangement immediate punch and one can settle into the history.

Why toil over choir mellotron when you can enlist the human expression to do so. On the male voiced 'The Tide Will Change', singer Clive Nolan spits his venom, a vituperative rant where torture, incarceration, humiliation, and exile is expressed in no uncertain terms, it really does 'cut you through the heart', as the mellotron howls away Even when he softens his tone, Rinaldo is still snarling and haughty. Modern day Richard Wagner influenced neo-prog ' More opulent choir work but in a much softer vein, Elena 's has a gentler voice and truly shines on 'Never Close Your Eyes', a shorter and interesting track, all serenity and calm. Perhaps the most overt sounding track is the luminescent 'Glass Throne', a harp and voice leading the way sounding gently medieval, before it kicks into a maelstrom of sounds as Laura steps on the power pedal with a harrowing performance, guitars, bass, drums, and keys flailing away, undeterred. The angst continues on the truculent 'Treachery', where all voices combine as in typical operatic ensemble Andy Sears' turn to take on the still angry Rinaldo, while Lucrezia (Elena) and Contessima (Laura) add their own two cents into the argument. Eric shoots off a wild guitar rant. Its all very theatrical, very overblown, as a rock opera should be but again, it would have a much larger and deeper impact in a live on-stage setting.

There is drop-dead beautiful main theme on 'Fall from Grace', which returns later slightly altered on the more raucous 'Legacy', a final standout track that has classic stamped all over it, as Laura really lets her lungs belt out the passion. These two tracks are my absolute favorites on this set list. This melody is so grandiose and heartfelt that it is easily worth the price of admission. 'Will I Ever Return?' has a superb Andy Sears vocal, within an adventurous arrangement with loads of Mellotron and a wicked Eric Bouillete electric guitar solo. 'Fortunes Reverse' and 'Return of the Medici' continues the plot within the same structure of contrasting atmospheres, from pastoral to bombastic, with loads of vocals. With the lyrics sheet in hand (aka the libretto) , this is superlative entertainment.

Absolutely enthralling work, my only problem is that I have never been fond of any rock opera on vinyl or CD, never went gaga over Wakeman's magnum opus (not for me, that would be the all-instrumental the 6 Wives of Henry VII debut) Voyage to the Center of the Earth, Zuffanti/Heward-Merlin or even Quadrophenia. I simply have trouble with too many vocals. So prog rock opera fans will drool all over their long-tailed tuxedos with 5 stars worth of thrown confetti but for me, this is a 4, easily 4.5 if I get to witness this in one of the afore mentioned Opera houses.

4 Tuscan tyrants