It has now come up with its reworking of the '90s Chris Isaak classic "Wicked Game" -- and much more.

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Il Divo released "Wicked Game," its sixth studio album, in November 2011 through the Sony Music label. The album also includes Il Divo's beautiful reinterpretations of Roy Orbison's "Crying" and Samuel Barber's "Adagio for strings."

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But most important of all, "Wicked Game" is much richer and deeper than its previous albums. Carlos Marin, Sebastien Izambard, David Miller and Urs Bühler return with their most dramatic album since their debut in 2004.

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Swiss tenor Bühler of the quartet speaks about the new album and Il Divo's brilliant career in a recent online interview:

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How would you describe "Wicked Game," the album?

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I say confidently that it is the best album we've done so far. The best repertoire -- I can listen through the whole album from front to back and listen to it again and I never lose interest. The best vocals ever -- we just become richer and more mature in our experiences with every album we record and every concert tour we play. We also had a much bigger say in the mixing and producing of the tracks this time than on any of the previous recordings. Finally the orchestral arrangements truly add another dimension to this album. It's very rich, dramatic and even dark at times -- which I like very much.

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"Wicked Game" is already your fifth album that made it to the top 10 charts in the US and it debuted at number six in the UK. Do you think your achievement is correlated with your choices of highly emotional songs?

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I think our success has to do with a lot of things. The choice of the repertoire is definitely a crucial factor. Further important is the unique configuration of the band with four very individual singers, four distinct voices and four different cultural and musical backgrounds, and of course the way we interpret the songs. We are very passionate musicians and we're perfectionists.

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In your album there are reinterpretations of Chris Isaak's 1991 hit "Wicked Game," Roy Orbison's "Crying" and Samuel Barber's "Adagio for strings." Which one do you think is the most romantic?

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If you ask for the most romantic one, then I would vote for "Come What May." It was not my favorite song when we started off in the studio, but now having spent a lot of time on arranging and recording it and also having performed it live at the London Coliseum last August, it has completely gotten me. The melodies are beautiful and interesting and the emotional build from the start of the song to its ecstatic finish is an entire love story in itself.

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Your achievements also led to a kind of new sound, combining classical music with pop. Do you think this might be a way for classical music performers to reach a wider audience?

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I don't know if there is a [certain] way to do so, but it is certainly a good one to make a much wider audience "classical-curious." With the way in which we introduce the sound of the classical voice, which to the untrained ear might sound unnatural at times, to the public in a familiar three to four-minute-long tune, we break down a bit of the threshold that people have when it comes to listening to opera. People always think you have to "know" about opera before you can enjoy it, and that you have to listen to a whole three-hour piece. But that's not the case. Everyone can take out of the classical repertoire what he or she likes. And I would like to encourage everyone to nose around in it because it is so incredibly rich and beautiful.

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Il Divo has sold more than 25 million albums so far and last year you were honored with the Artist of the Decade award in the Classic Brit Awards. What else is left for future aspirations?

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I hope we can be around for many, many more years to come, make good music, push our own boundaries further and further, and reach as many people with our music as possible; make them smile, make them happy. I love what I'm doing, and I'd like to share it with everybody. On a purely ambitious note: I would like us to be the most influential artists at what we're doing. In decades to come, when people talk about classical crossover in the beginning of the 21st century, I'd like them to talk about Il Divo.

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Could we say that Il Divo's appearance in 2005 on The Oprah Winfrey Show served as the biggest breakthrough in the quartet's career?

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It has certainly helped enormously in launching our career in the United States. It is a big loss for us that [Winfrey is] no longer on the air. She's always been championing us and we owe her a lot.

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You joined the legendary Barbra Streisand on her North American Tour in 2006 as her special guests. What was working with her like?

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It was a big privilege to be given the opportunity to share the same stage with such an iconic artist. Barbra is one of the last ones around of the old guard. Even though I was never a particular fan of her music, she is certainly very impressive to witness as an entertainer, the way she captures 25,000 people with every word she says or sings is just awe inspiring. And she was such a lovely person as well, the complete opposite of what reputation she seems to have with certain people.

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Are there any upcoming projects with prestigious orchestras?

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Our upcoming 2012 world tour is entirely based on the experience "Il Divo with orchestra." After having done several world tours with different stage designs and instrumental configurations, we want to have the music alone in the foreground this time. That does not mean that the show isn't going to be visually beautiful as well; on the contrary. [We're working] with Brian Burke, the creative director known from his work on the very successful Vegas shows "Another Day" (Celine Dion) and "Le Reve," he has amazing vision and imagination with which he creates the perfect envelope for the music we're performing together with a 40-piece orchestra.

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Il Divo's first single was "Regresa a mi" -- a Spanish rendition of the famous Toni Braxton song "Unbreak My Heart." Why do you think this song is so successful in touching millions of people around the world?

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To be really honest, I think the secret lies in the ingenious modulation from verse to chorus… but that's a bit too technical. The [key to its success is] the image of "unbreaking" a broken heart; which I'm sure everyone has experienced and wished there was a way of "unbreaking" it, as well is a marvelous streak of creativity by [songwriter] Diane Warren. Last but not least, Toni gives it her all, just as we do in our own way. A song is a song; it stands and falls with the artist who performs it.

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You're saying that the album "Wicked Game" reflects the evolution Il Divo has underwent. How do you describe this evolution?

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The music on this album is richer, deeper, more dramatic. We spent a lot of time on the vocals and on their arrangements. In some ways we went back to the days we recorded our first album with a lot of re-recording and re-arranging, trying out different things. That, among others, is one of the reasons why it took us so long to finish it.

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Our new orchestral arranger, Karl-Johan Ankarblom, is clearly a step in a new direction. His influences from TV and movie are clearly audible and make for a very rich, cinematic sound on the new album. Furthermore, several adaptations of classical instrumental pieces we feature on "Wicked Game," "Dove l'amore" and "Senza Parole," just to mention two of them, are to me a very interesting approach to the new repertoire of Il Divo.