So what is Operatika and is that comparison to Tarja and the Nightwish crew justified? Well, first, Nightwish is a keyboard based sound, Operatika is very definitely guitar based. Slava is, however, a classically trained vox in the true tradition of European female vocalists. And that sound is opera based. But, the guitars are certainly not opera based, they are metal, hard speed metal, and they rock. The beautiful Russian keyboardist does provide some symphonic cushion but it is largely overshadowed by the driving drums and guitars, which are the real backdrop to the Slava vocals. So, what we have here is a strong, hard metal-based sound with an opera vocal.

Operatika has been privileged to open for a number of strong European acts when they appeared on the Upper East Coast. Among the more noticeable are Nightwish, Helloween, Yngwie Malmsteen, Stratovarius and Sonata Arctica among others. They’ve also opened for American acts like Twisted Sister, Sebastian Bach and Kamelot when they’ve been in the neighborhood. That’s some heavy firepower and Operatika has always done the job required, just don’t ask them to open in rural Georgia. Just wouldn’t be the same. Riots would be the least of your concerns.

The Calling is the first full length CD from the band, it was released this year. Several of the titles come from the short EP the band released earlier, Dreamworld. That title introduced me to the Operatika sound and I always liked it, it is improved here both in a production sense and in the breath of material.

The CD begins with a short classical selection called, interestingly enough, Intro. It doesn’t last long, and we move to the second selection, Gladiator. In about 15 seconds, you begin to get an idea regarding what you are about to hear. The speed metal guitar screams, the background howls, and we are introduced to the Slava vocals. They are operatic but the background brings you to the true essence of the Operatika sound, hard metal over a driving guitar and a full metal jacket. If this is Nightwish, we have very different opinions regarding the Nightwish sound.

Tears of the Sun follows with a screeching guitar intro. Keyboards exist, but only in the subliminal sense. Slava takes the vocals to a more direct line of approach, over the thundering base and drum lines. There is some overlaying of those vocals but, with Slava, the approach is generally direct, in an operatic kind of way. And, as usual, the music is driven by the guitar. This is the core of the Operatika sound, and it is metal in every sense of the word, assuming you are comfortable with the operatic vocals.

Dark Horizon takes the band in a somewhat different direction. There is a keyboard based, symphonic introduction. It takes the sound in a more classical direction, the other instruments join in but this is the Russian in charge, with a strong drum line. Slava goes a little lighter, not much, but enough to make it obvious that there are alternatives to the Operatika motif. Again, the vocals are overlaid and, with a voice like Slava’s, there is a lot to work with. This is classical material, done to a hard rock base. Towards the end, the speed guitar kicks in and reminds us what this band is all about. There are few axes out there to exceed the Operatika crush, and we are reminded of this fact here.

Life Saving Flame is a vocal delight. Slava introduces the number with a strong vocal line, which surrenders to the metal framework for a period. But the vocals return. This is a vocal highlight, and a strong presentation of a serious vocalist. Slava sings with an Orthodox choir in New York when not driving the Operatika machine, and this one reminds us how strong her voice is. As usual, there is the guitar solo and one can count on this being a staple of pretty much every song, it is the heart of the Operatika music, driving the vocals in every instance.

The following selection, No. 3-23 in A Minor is an instrumental selection. It showcases the instrumental capabilities of the band, especially the keyboards and the guitar. This is somewhat classical, but with a speed metal driver. Not something you hear every day and a delight, if all too short.

Secrets of the Past is again introduced with the classical keyboards. We go symphonic for a short time. But, the guitars are not far behind, screaming for recognition. The song is a little more classical with the softer vocals and the symphonic background. Slava takes us in another direction; the background takes us to a European scene. There is even a death metal component as a grunter interacts with Slava. This is a newer direction for Operatika and showcases a more varied capability. But, the speed metal guitars are never far away, they appear at some point to drive the melody forward, and that melody is a composite of the guitars, the death metal vocals and the Slava vocals.

The Storm is a further expedition into the ethereal capabilities of this multitalented crew of musicians. It begins with a sea sound, an ocean whisper, leading to a ghostly vocal selection. As Slava begins to move the story forward, the guitars begin to climb, the drums begin to hammer and the base kicks up a notch. But this is Slava, a strong vocal offering that expands the number beyond the metal framework. Drums take the interlude to the guitars, which remind us that this is not Nightwish, in any sense beyond the vocals.

The song moves directly into the next selection, The Calling. Again the vocals drive the selection. It is a guitar selection that interacts strongly with the vocals. Lyrics talk to the Operatika message:

The song concludes with a beautiful vocal component, one that is as strong as any vocals in this genre. And it rides over the keyboards provided by our lovely Russian.

The CD concludes with The Last Quest. Again, the tone is classical driven by the Russian keyboards. That sound is, as usual, followed by a screaming guitar, which leads to the Slava vocals. The tradeoff continues, with the vocals focused against the guitars over the symphonic core. We get it all here, symphonic metal with an operatic vocal strewn against the screeching guitars. The drums are there, the base is strong, but this is a guitar number drawn against an operatic vocal. This is Operatika, and as good as it gets in North America.

As a soft guitar lead us to the conclusion, we are reminded that we have had a screaming interlude to what is usually a European musical phenomena. And, we got it in New Jersey. How cool is that?

8.5 / 10