For tonight would see the unveiling of Bequa Kynska's long-awaited Maraviglia.

The auditorium was painted in a riot of colours with gold trim throughout, and ornamental plaster-work and mouldings divided the wall areas into large, well-proportioned panels decorated with all manner of splendidly overwrought artworks. In magnitude, La Venice had few superiors, even in the largest and most urbane of the Terran hives, and was finished in a style that had clearly involved the most lavish expenditure of resources.

Parquet spread from the front of the stage in wide, concentric arcs, the mosaic floor invisible beneath the sandals of the thousands who had come to see this most magnificent spectacle. Semi-circular niches to the side of the parquet accommodated busts of renowned impresarios of Terra and other, more exotic, statues of hedonistic libertines. Amongst these sculptures were other, less recognisable statues of mightily muscled androgynous figures with bulls' heads and bejewelled horns.

To the rear of this area, six mighty columns of solid marble supported the dress circle, and the front of the balcony was decorated with exquisite plaster applique.

Brass cages containing brightly coloured songbirds were suspended from the base of the balcony and their frantic music added to the din of the orchestra and audience. A sweet scented musk drifted from hanging incense burners and the air was almost unbearably humid. The sense of fevered anticipation was palpable as scores of musicians tuned their instruments in the bow shaped orchestra pit before the stage. Each instrument was a monstrous contraption of pipes, bellows and crackling electrical generators, which in turn were hooked to towering stacks of mighty amplifiers, created specifically for this performance, and designed to replicate the magical music of the Laer temple.

Coloured lights and strategically placed prisms filled La Venice with blinding rainbows and cast beams of a million different hues to every corner of the theatre. An army of seamstresses had worked tirelessly to create the stage curtain, and the glaring footlights illuminated the vividness of the red velvet and the wondrously embroidered images of decadent legends, cavorting nudes, animals and scenes of battle.

On the vast pediment above the stage, illuminated by a single spotlight, was the late Serena d'Angelus's painting of the Emperor's Children's primarch. Its terrible aspect, unendurable finish, and the passion of its outlandish colours rendered those who saw it dumb, and robbed them of coherent thought.

More of Serena's work could be seen on the vaulted ceiling of the theatre, a colossal, multi-coloured mural of serpents and ancient beasts of legend, which sported with naked humans and beasts of all description.

The sheer bulk of the Astartes filled much of the enormous theatre, even though they were stripped of their armour and wore only simple training robes. Those remembrancers that found themselves behind one of the giant warriors danced from foot to foot as they sought to obtain a better view of the stage.

The captains of the Legion sat in the comfort of the boxes, arranged in two tiers on either side of the stage. The boxes overlooked the proscenium with an unobstructed view, and their facades were of a classical design with fluted pilasters to either side.

The box with the most perfect viewpoint was known as the Phoenician's Nest, its interior painted with frescoes of gold and silver, and decorated with yellow satin draperies that overhung lace curtains. Over it all, a valance of gold silk shimmered in the light of hundreds of candles fixed upon a great chandelier above the centre of the stage.

A movement in the Phoenician's Nest drew the gaze of the gathered audience and soon every eye was fixed upon the magnificent warrior standing there. Dressed in his finest toga of regal purple, Fulgrim raised his hand to the crowd and basked in the adoration displayed by his Legion as thunderous applause built and shook the rafters with its volume.

His senior commanders accompanied the primarch, and as he took his seat the lights began to dim. A brilliant spotlight shone on the stage as the great velvet curtain parted and Bequa Kynska made her entrance.

Julius watched with barely contained excitement as the blue haired composer crossed the stage and descended into the orchestra pit to take her place on her conductor's podium. Dressed in a scandalously translucent dress of gold and crimson, the gossamer thin material hung with precious stones that glittered like stars. The cut of her dress plunged from her shoulders to her pelvis, the swell of her breasts and the hairlessness of her flesh clearly visible beneath.

'Magnificent!' cried Fulgrim, clapping furiously with the audience at Bequa's appearance, and Julius was amazed to see tears in his eyes.

Julius nodded, and though he had no real memory of feminine splendour or any frame of reference against which to compare her, the composer's curves and obvious womanhood stole away his breath. Julius had felt such stirrings of emotion when he gazed upon his primarch, heard a particularly inspiring piece of music or went into battle, but to feel his senses aroused by a mortal woman was a new experience for him.

Thick silence enveloped the audience as they waited for the magic to happen, the collective breath of nearly ten thousand throats held fast as the moment of anticipation stretched to breaking point. Bequa selected a mnemo-baton and tapped it on the libretto stand before launching into the opening bars of the Maraviglia's overture.

Tremendous noise erupted from the orchestra pit as the first notes blared from the newly conceived musical devices, the sound reaching to every corner of La Venice with its wonderful instrumentation, romantic beauty and hints of themes yet to come. Julius felt himself carried on a journey of the senses as the music rose and fell, emotions he had never experienced plucked from the depths of his soul and brought joyously to the fore as the crashing beats and wild, skirling tunes wound their way through the audience.

He wanted to laugh and then cry, and then he felt a terrible anger build, before it bled away and a great melancholy settled upon him. Within moments the music had torn that loose, and a soaring elation asserted itself with the utmost lucidity and force, as though all that had gone before was merely the prelude to some grand design yet to be unveiled.

Bequa Kynska thrashed like a lunatic atop her conductor's podium, jabbing and slashing the air with her baton, her hair a wild comet of blue as it whipped around her head. Julius tore his eyes from the magnificent sight of her and looked out over the audience to witness its reaction to this sublime, raucous music.

He saw faces rapt in stunned disbelief, eyes wide as the power and majesty of the dissonant sounds penetrated every skull and spoke to every soul of the sensations evoked. But not every member of the audience appeared to appreciate the wonder of what they were privileged to witness, and Julius saw many with their hands clamped over their ears in the throes of agony as the music swelled once more. Julius caught sight of the slender figure of Evander Tobias in the audience, and his anger grew as he watched the ungrateful wretch lead a group of his fellow scriveners through the crowd towards the exit.

Scuffles broke out and the recalcitrant archivist and his fellows were attacked, fists pummelling them to the ground where they were kicked and beaten. Without pause, the audience returned its attention to the stage, and Julius felt a fierce pride swell in his breast as he watched a heavy boot crunch down on Tobias's skull. None remarked upon the sudden, bloody violence, as if it had been the most natural reaction, but Julius could see the bloodlust spread throughout the audience like a virus or the Shockwave of a detonation.