Les Fleurs du Mal is a cover album and the fifteenth full-length musical album by Therion. It was released on 28 September 2012. It is an art project to celebrate the 25th anniversary of the band.
In retrospect, it is not hard to find hints of a coming change in the final album Cat Stevens made before a near-death experience and a religious conversion.
Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)
Therion is a Swedish symphonic metal band founded by Christofer Johnsson in 1987. The word 'therion' comes from the Greek therion (θηρίον), meaning 'Beast,' i.e., that of the Christian Book of Revelation. However, the band's name is a homage to the Celtic Frost album To Mega Therion. Beginning as a death metal band, they later turned to combining orchestral elements with their metal music, employing heavy use of choirs and classical musicians, not only as additions to but also as integral parts of the composition. Therion is the first metal band with fully live orchestra featured. It is also the band which originated, popularised and influenced the symphonic metal genre, cited as 'the most adventurous metal band at present'. Because of these extents they take in conducting their music, they have been dubbed as 'Opera Metal'.
This SACD transfer of Anne-Sophie Mutter’s Beethoven violin sonatas, taken from a series of live recordings from 1998, does not transcend the questionable interpretations. In each of these famous sonatas, Mutter takes excessive liberties with respect to dynamics and phrasing, and while some listeners may appreciate the thought and care she puts into these readings, it sounds as if she is trying a bit too hard to be “musical”. For example, just before the exposition repeat of the “Spring” sonata, several instances of disproportionate agogic pauses, inconsistent use of vibrato, random adherences to sforzando markings, and a sporadic disregard for (or recasting of) dynamics combine to produce an overly fussy performance that lacks momentum and a sense of direction.
Legendary performances, no doubt. Nice sound in the original recording, the processed 3 channel sounds even better. Piano tone is wonderfull, full-bodied and detailed. Nice orchestra perspective.