Avantasia finally brought their rock opera spectacle to Vienna for the first time on April 2, 2025, filling Raiffeisen Halle im Gasometer with symphonic drama, soaring vocals, and a sense of long-awaited arrival. As part of their “Here Be Dragons” tour, the performance offered more than just songs – it was a full theatrical immersion. For fans of melodic metal, prog grandeur, and Tobias Sammet’s ever-expanding fantasy realm, this was the live show dreams are made of.
Despite some longtime voices missing from the lineup, including Jorn Lande and Michael Kiske, Avantasia never lost a step. Tommy Karevik, Kenny Leckremo, and Adrienne Cowan (now stepping confidently into a veteran role) led the charge of the “new guard,” delivering show-stopping performances that silenced any doubts. Backed by Sammet’s usual mix of wit, charisma, and unrelenting hooks, the band conjured an evening that felt like part rock concert, part metal opera, and entirely unforgettable.
The Ringleader Returns
Tobias Sammet wasted no time reminding Vienna who was in charge. Donning his signature steampunk hat and snarl, the mastermind behind Avantasia leaned into the front row during “Reach Out for the Light” like a rock ‘n’ roll conductor rallying his orchestra. This wasn’t just another stop on the “Here Be Dragons” tour. it was a long-overdue debut, and Sammet delivered with theatrical gusto.
The Veteran’s Glow-Up
Adrienne Cowan stepped into the spotlight with effortless command, a far cry from her early days in Avantasia. Once the new kid among giants, she now struts the Gasometer stage as a seasoned show-stealer.
Reach Out For The Light
With fire licking the sky behind them, Tobias Sammet and Adrienne Cowan locked into a theatrical showdown on “Reach Out for the Light.” It was one of those rare live moments where set design, chemistry, and sheer vocal power converged into something cinematic.
The Heir Apparent
Tommy Karevik stepped into the shadows wearing a hood, but left the stage as one of Avantasia’s brightest revelations. Whether channeling operatic gravitas or rock bravado, he navigated the band’s sprawling setlist with pinpoint control.
The Toy Master
Clad in tattered tails and theatrics, Tobias Sammet embodied the twisted glee of “The Toy Master” with vaudevillian flair. He strutted through Vienna’s Gasometer stage like a ringmaster in a haunted carnival, beckoning the crowd into Avantasia’s wild operatic spiral.
While My Guitar Quickly Shreads
Adrienne Cowan leans in with theatrical mischief as Sascha Paeth, the architect of so much of Avantasia’s sonic identity, locks into a solo with Zen-like precision.
The Choir of Fates
Tucked behind faux stone ramparts and ambient haze, Avantasia’s backing vocalists brought more than just harmonies; they brought joy. With Adrienne Cowan grinning mid-gesture and the whole section animated in camaraderie, it was clear this ensemble was as much a family as it was a band.
Double Kick, Double Fists
Drummer Felix Bohnke, the unsinkable engine of Avantasia, raises his sticks like battle flags at the end of another power-prog blitz. Trading grins with guitarist Sascha Paeth, it’s clear this wasn’t just a show, it was a siege with rhythm as artillery.
Mother Moon, Cast Your Spell
Adrienne Cowan doesn’t just sing – she conjures. Caught mid-gesture beneath the gothic glow of Avantasia’s cathedral gates, her presence is pure sorcery. One part powerhouse, one part priestess, she turned the Gasometer stage into sacred ground.
Brothers in Flame
With fire behind them and fists raised in unity, Tobias Sammet and Tommy Karevik closed out a climactic track like war-torn comrades finally stepping into the light. Theatrics? Sure. But every gesture landed, like power metal’s answer to Broadway.
