On October 26, 2024, Moonspell made history in Portuguese music by performing Opus Diabolicum at Lisbon’s MEO Arena — their first concert accompanied by a full symphony orchestra. Joined by the Lisbon Symphony Orchestra under the direction of Vasco Pearce de Azevedo, the band fused the raw power of dark metal with classical grandeur in a breathtaking performance.
Now, exactly a year later, this monumental experience is revived through Napalm Records, out October 31 in multiple formats. Frontman Fernando Ribeiro reflected on the meaning behind the project, its challenges, and what Opus Diabolicum represents in the band’s legacy.
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When asked what it meant for Moonspell to give their first symphonic concert, Ribeiro admited,
“I really don’t know what to say. I could say it was a dream come true, but we never actually had plans of going that way. I guess the best way to explain it is that we needed time to write the new album, until the muse arrived (and it did) and we also had to manage to stay on the radar of our fans, so we had to balance this reality, and it was good as it opened our options and provided opportunity.”
He continued, “It turned out to be great and a musical dream come true, first and foremost, to listen to our little songs and keyboard arrangements attaining such grandeur with the orchestral arrangement.”
Describing the collaboration with the Lisbon Symphony Orchestra and conductor Vasco Pearce de Azevedo, Ribeiro recalled: “Actually, it was great, and harmony is a very nice word to describe the whole process. There was a huge chemistry between all musicians, and everybody was very focused on this project. For the orchestra, it was a welcoming break to play with a metal band, and they became fans of the music. The maestro (Vasco Pearce de Azevedo) is very rigorous; he has to be, but he’s also famous for embracing different challenges, so everything fell into place.”
“I guess ‘Vampiria’ first because of the final part, which underlined the orchestral and made it more filmic, I guess, giving a new life to the song,” Ribeiro explained when asked which tracks were most transformed. “Then, ‘Everything Invaded’, that comes from an album (The Antidote) which is really not symphonic at all, so it’s a really awesome fit and it’s just a detail, but we finally played Proliferation with a real orchestra, as the song is originally based on Stravinsky’s Rite of Spring sampler.”
“It’s always a gamble, yet we chose ‘Vampiria’ because it is an established song with a new twist, and ‘In Tremor Dei’ was pretty obvious as 1755 is our most ‘orchestral’ album and central to us playing on stage with an orchestra.”
Playing 1755 with an orchestra in their hometown was deeply personal for Ribeiro: “It felt great even though I wanted to play it in Praça do Comércio, the ‘impact zone,’ but I doubt the city hall will ever let us do that. They hate rock and heavy metal, so it seems [Laughs]. But we were lucky enough to play at the biggest arena in Lisbon, and 8000 fans showed up, not only from Portugal but all over the world… we were vindicated.”
On why the project bears the title Opus Diabolicum, Ribeiro noted: “Well, it’s an old song from Moonspell, and its original ‘intro’ was actually an orchestra tuning, so there was a connection there. Also, I like strong classical music like Mussorgsky, Prokofiev, Dies Irae by Verdi, and devilish violinists like Tartini or Paganini. The work of the devil, the power of metal music, and the magnitude of an orchestra, the small mistakes, the hesitations, the happy accidents, the human factor in a world of processed music to sound safe and listenable.”
In a streaming era, Moonspell’s commitment to physical editions remains strong: “The physical formats are for the die-hard fans, and they make up the core of our audience and our survival, and they don’t care about portability, comfort, availability, and such things. They just want to support us and have the full experience, and to have our records in their collection, and that’s more beautiful than digital. Prove me wrong.”
“The concert was described as a ‘passion piece made by friends for friends,’” Ribeiro reflected. “It’s obvious we tap into the community, and they give us back tenfold. More than just doing music, I have a record label for releasing Portuguese and Brazilian Metal bands, I’m also active in books, sessions, and meetings, I have a poetry substack, so yes, it’s a community for me, more than just a job or a business. I’m a very thankful member of the metal and gothic community, and there’s a love story between Moonspell and our fans, that’s for me logic and what matters mostly.”
When comparing Opus Diabolicum to other metal-meets-orchestra efforts, Ribeiro clarified: “Don’t get me wrong. I’m not the kind of guy who says something is bad or out of place because I don’t like it. I leave that to the kids and to the haters. But I have a pair of ears, a sound mind, and years of experience, and I know exactly what I want, at least that.”
“I listened to countless metal bands with orchestra before delving into the mix with Jaime Gomez Arellano. The only band that really impressed me was Septic Flesh; they excel on their orchestral death metal. The rest I listened to, no names named, was too sweet and too focused in letting the orchestra sounding on top. I told Jaime, this is rock and roll, it has to sound a bit dirty, imperfect and with Moonspell in the spotlight. The orchestra would find its way and it did. So what does Opus got that other records don’t? I’d say it has balls and taste. It feels like the real thing.”
“We kept the stage very minimal and elegant because of all the setup with the orchestra members, the mise-en-scène, their attire, and the dresses,” Ribeiro added. “We wanted to mix that with Moonspell’s natural metal exuberance and theatrical flair. By the addition of symphonic power, as you say, the orchestra provided a backtrack to go further with our narratives of Lisbon, vampire love, and madness under the moon.”
Looking ahead, Ribeiro hinted that Opus Diabolicum might not remain a one-off.
“It would be a shame to be a one-off and we’re already negotiating a few others, not many, in Europe and overseas. A full tour is, of course, out of question for a struggling band such as Moonspell, but we hope to play it a few other times before we split up. What have we learnt? Seize opportunities, manage expectations. Nothing more, nothing less.”
After such a grand event, the band’s return to club stages feels grounding: “It feels great and welcoming, as clubs are our natural element. It feels even more intense. Actually, after playing for 8000 people in Lisbon, headlining, we went on tour as special guests of Dark Tranquillity in a club for 600 people in Berlin, and for me it felt great too. Being on stage and keeping the ghosts away it’s inestimable, be it in a sweaty club or in an arena.”
