Introduction
Formed in 1987, Therion emerged as a death metal act in thrall to Celtic Frost, before establishing a more symphonic sound, first with Lepaca Kliffoth (an album that found the band tentatively dipping their toes in orchestral waters); and then with the stunning Theli, which set an incredibly high bar for what was to follow.
Led by Christofer Johnsson, whose passion for the band remains undimmed, Therion have carved out a unique path over the years, steadfastly refusing to become entwined with the wider symphonic metal movement. In consequence, their journey has been varied and rewarding, with projects such as Les Fleurs du Mal and Beloved Antichrist showcasing a breadth of influence of which their peers can only dream.
At the core of Therion’s success is their intuitive understanding of classical forms. Where many symphonic bands adopt orchestral elements at surface level only, Therion interpret the dynamic that lies at the heart of composers such as Orff or Wagner, utilising the heft of metal to underscore the high drama and power inherent in their works. This, alongside the decision to employ several vocalists at a time rather than rely on backing tracks, has allowed for a genuinely symphonic sweep to emerge across their music, with the result that the band benefit more than most from the integration of an orchestra into their ranks.
The orchestral experience
While Therion, who have amassed 19 albums over the course of their career, have released a number of live sets over the years, only one to date has delivered the full orchestral experience. A double album, The Miskolc Experience is a unique release, with the set divided in two – offering a series of classical interpretations on disc one (with selections including Wagner, Verdi, and Mozart), and Therion originals on disc two. For Con Orquesta, however, the band have refined their approach once again.
When speaking of the collaboration between the band and the Orquesta Sinfónica Nacional de México, Christofer noted that he “wanted to take a different approach. I invited a renowned conductor and composer from Mexico to reinterpret our songs by adding new arrangements and expanding the originals with the orchestra. They also wrote some new intros and small interludes, making this a truly authentic Mexican interpretation of THERION live with orchestra.”
Christofer has done his musical partners no more than justice with this assertion and, over the course of twenty songs, band and orchestra transport their audience to a different realm.
The set
Similar to previous Therion releases, Live Con Orquesta is available as a 4-disc set, with CD, DVD, and blu ray all included. The discs come housed in a DVD-sized, six-panel digi-case, with liner notes on the leading flap and two plastic trays, each holding two discs overlapping one another. This sort of arrangement is never ideal, as you end up juggling discs to get at the one you want, but it’s better than the easily broken sprung holders favoured by some companies.
Housed in a slip case and with a twelve-page booklet containing a number of live shots, it’s a decent package commemorating Therion’s largest show to date.
For those who prefer just to enjoy the audio components, there’s also a coloured vinyl edition, which is housed in gatefold packaging and comes spread across three platters, each bearing a colour of the Mexican flag.
This review covers the CD box set edition.
The Audio
Neither the DVD nor the Blu Ray offer any audio options. However, the stereo mix (handled by Erik Martensson at Mass Destruction Production) is so impressively done, that this is really not a problem.
Even given the quality of previous Therion live releases, this one is something special. Indeed, the production may just put it in the running for the best Therion live release yet, Erik having achieved a fantastic balance between the sumptuous sound of an orchestra running wild and the crisp attack of Therion at their metallic best. Whether on the included CDs or the audio-visual formats, Con Orquesta sounds simply amazing, and you’ll be hard pressed not to feel a thrill as opening number The Blood of Kingu kicks off proceedings, which lasts throughout this lengthy performance.
The video
Unfortunately, while the audio excels, the same cannot be said of the video. While the film does capture the scale of the event, it appears to have largely been captured on static cameras, with the image cropped and zoomed to give the impression of movement and shifting angles. This approach, while providing some sense of dynamic, results in considerable dips in clarity, with some shots crystal clear and others looking like a YouTube rip.
However, with the band’s performance so exquisite, and the show so immersive, this is hardly a deal breaker. While it does, at times, pull the viewer out of the moment – particularly during close-up shots that slip horribly out of focus – for the most part you’ll be too lost in the overall vibe of the event to care too much. Nevertheless, it is a shame that this amazing event was not captured in better quality.
The Concert
What better way to start this special, sold-out orchestral show than The Blood of Kingu? A classic song, it provides ample opportunities for each of the band’s three singers to shine… and shine they do. The incomparable Lori Lewis draws the attention, Thomas Vikstrom is a whirlwind of metallic activity, and Rosalía Sairem (a relative newcomer, having only joined in 2019) is pure class, showcasing a strong voice and clearly enjoying the blood and thunder of it all. With a great chemistry between all three, which is shown throughout the show, they light up the stage with their presence, leaving the band to get on with the business of levelling the venue.
What becomes apparent right from the first moment is that this is a genuine collaboration between all the different elements. Nibsen Solis’ orchestral arrangements, which perfectly compliment the band’s sound, are bought to life by the Orquesta Sinfonica Nacional de Mexico and the Ensemble Coral Cuicati, under the watchful eye of Rodrigo Cadet. Not only are these excellent musicians but time and again the film shows them interacting with the band, headbanging to the music, and generally having an amazing time. It’s wonderful to see and the interaction only serves to make this special concert all the more engaging.
Meanwhile, the well-chosen setlist dips into elements from across the band’s storied history. Highlights come thick and fast, but it’s hard to beat the genuine emotion that greets a pair of tracks from Les Fleurs De Mal (Mon Amour Mon Ami, and La Maritza), which reduces a number of audience members to tears. It’s a mark of the special empathy that exists between Therion and their Mexican fans and, at a time when audiences appear to be increasingly disaffected and detached from the music, it’s truly heartening to see the power music still has to transport its audience.
Elsewhere, tracks from the recent Leviathan trilogy are greeted like old friends by an explosive audience. Of particular merit is a bombastic Ten Courts of Diyu, which benefits greatly from the energy of a live performance and the sheer dynamic power of the orchestra. Similarly, the well-worn Lemuria is given greater depth thanks to the addition of a choir, while Sitra Ahra really comes into its own – frankly crushing its studio counterpart underfoot.
It all builds to an epic conclusion in the form of The Rise of Sodom and Gomorrah. One of those rare moments where band and audience are genuinely as one, it’s delivered with such verve as to become the definitive version of this exceptional song. With the orchestra on fire, the choir headbang gamely along, and the band clearly enthused by the rapturous response of 11,000 voluble Mexican fans, it’s an absolutely perfect moment, and even at the distance of a home release, it sets the adrenaline surging through the veins.
It’s followed, of course, by an equally devastating rendering of the band’s calling card, To Mega Therion, and the audience are barely able to restrain themselves. It’s the sort of grandstanding finale the show both needed and deserved, and Therion more than deliver, leaving the stage to a sustained applause which, you may suspect, is still echoing across the venue even now.
Final thoughts
Therion have always excelled in the live environment, and they have a number of great releases to testify to the fact. This, however, is something special. While The Miskolc Experience is an impressive concert, there’s something in the mix that feels a little off – just slightly lacking the power found elsewhere in Therion’s work. Here, that imbalance is corrected and both band and orchestra sound immense thanks to Erik’s deft hand at the mixing desk.
While it should be noted that some of the visual aspects suffer in comparison to previous releases (a particular shame, given the scale of the show), the audio is basically flawless and, with a wonderfully engaging set list, you’ll find yourself lost in the majesty of the band’s performance, even given the limitations of the camera work.
A must for Therion fans, then, Con Orquesta is an absolute triumph, reasserting the remarkable synergy that can be achieved between heavy metal and classical forms. 8.5/10
