Writing an opera centered around Mars? Mars represents more than just a celestial body; it embodies philosophy and ideology. Humanity’s perception of it evolves over time, mirroring the complex blend of beliefs, aspirations, dreams, and fears that characterize each era.
In 1965, NASA’s Mariner 4 flew by Mars, delivering the first detailed images of the red planet back to Earth. Before this mission, our knowledge of Mars was limited to telescope observations, where the planet was imagined as a lush environment that might harbor life. Mariner 4 unveiled a starkly different reality: a barren, cratered landscape devoid of life. President Lyndon B. Johnson declared, “It may just be that, as we know, it’s more unique than many people think, along with its humanity. We need to remember this.” The New York Times went even further.
Imagine life in the summer of 1965 if you hadn’t yet been born. In June, Ed White became the first American astronaut to walk in space. His experience was so profound that Soviet astronaut Alexei Leonov referred to it as “the saddest moment of my life” upon re-entering the capsule. Life Magazine celebrated White with a dedicated issue titled “A Glorious Walk in the Universe.” Shortly thereafter, images from Mariner 4 were broadcast, revealing Mars’s desolation. We had just entered a summer filled with dreams of the cosmos, a time of belief that we might not be alone; those dreams, however, were soon overshadowed.
Historic… The first female spaceflight crew including Lauren Sanchez, third from the left. Photo: Blue Origin Handout/EPA
Fast forward 60 years later, space and technology continue to captivate our attention. Spring was bustling with events. In April, the first all-female spaceflight led by then-fiance billionaire Jeff Bezos, Lauren Sanchez, launched using a rocket developed by Bezos’ Blue Origin. In May, another billionaire, Elon Musk, resigned amidst controversies surrounding Doge, all while sporting a “Occupied Mars” T-shirt.
In June, billionaire venture capitalist Peter Thiel shared in an interview with the New York Times, “Mars appears to be more than a science project. It’s a political undertaking.” By July, scientists presented findings at the National Astronomical Conference showing ancient riverbeds on Mars, challenging earlier beliefs regarding water on the planet. Sotheby’s auctioned a large piece of Martian meteorite for around $5.3 million (£4 million). Meanwhile, President Trump signed an executive order aimed at “preventing the federal government from overstepping.”
So, why create an opera about Mars? Because discussing Mars means exploring our own identities, aspirations for the future, and the mechanisms of current power dynamics.
To write the opera about Mars, how do we proceed? First, we select a script. The choice of author Mark O’Connell was natural; we are both intrigued by AI, Silicon Valley, and the ideological currents that permeate everyday life, from transhumanism and futurism to rising concerns around fertility rates in Western nations.
Our research dives deep, adopting a Hard Science Fiction perspective. We begin with everyday logistics. How do astronauts exercise, eat, shower, and use the restroom? Can a pregnancy be carried to term in zero gravity or under Mars’ weaker gravitational pull, which is 38% of Earth’s? The answers vary, ranging from the benign (using advanced resistance exercise equipment) to the concerning (one option involves tying a woman to an underground centrifuge during pregnancy).
“I turned to AI,” remarked Walche and her co-director Tom Creed during rehearsals. Photo: Ste Murray
The vast distance from Earth to Mars (about 140 million miles) complicates real-time communication. I pondered the dynamics of relationships in a scenario where conversations could only happen through audio notes. Each line of inquiry led to more questions: If we find life on another planet, how will it alter our understanding of ourselves and the cosmos? Is there a legal framework in place? Does the 1967 Outer Space Treaty hold? Are we humans destined to repeat the harrowing patterns of colonization, or can we carve a different path?
Our opera centers around an all-female mission. Four astronauts—Svetlana, Sally, Judith, and Valentina—named after the first four women in space, board the spacecraft Buckminster en route to Mars. Their quest is to find water to support existing colonies.
Their journey is arduous, further complicated by the scant entertainment options and reruns of *The Real Housewives of Beverly Hills*. Upon nearing Mars, they learn that their mission has become the target of a hostile takeover by Shadowfax Ventures, helmed by libertarian billionaire Axel Parchment. They now face isolation, the looming specter of corporate authoritarianism, and the existential question of alien life.
As we dived into the plot, the next challenge was to creatively encompass this expansive narrative acoustically. I envisioned the actual sounds astronauts would experience in different space environments: the roar of rocket propulsion, the hum of life support systems, and mechanical sounds. We meticulously analyzed audio recordings from the International Space Station, crafting ways to replicate these auditory experiences.
The Irish National Opera’s production premiered
At the Galway Arts Festival in July. Photo: Pat Redmond
I immersed myself in hours of space audio—whistles, auroras, interstellar recordings from Voyager 1, and even humorous moments like Chris Hadfield’s lighthearted accounts of using the ISS restroom, alongside studies of various exoplanets. The community at Space Exploration Stack Exchange assisted with inquiries about musical instruments functioning in 38% gravity and the sound quality of trumpets and violins on Mars.
Interestingly, astronauts seem drawn to synth music. A playlist shared by Dutch astronaut Andre Kuipers revealed a taste for Vangelis, Mike Oldfield, and Brian Eno, leading me to incorporate synthesizers into both the orchestra and the spacecraft. For our antagonists, I leaned into AI to define their musical character, which was humorously labeled as “bad EDM.” They demonstrated a propensity for chaotic sounds, driving me to explore genres like “Bro Step” and “Fashwave.”
In our opera, the astronauts confront the challenges of a troubling future, resilient against the odds. Our vision, shaped by Mark’s and my imagination, captures not only resistance and hope but also moments of rebellion and joy. Throughout the summer, our team remained aware of the stark human challenges and anxieties outside the rehearsal space. This awareness drove us to explore the significance of our own world, amidst a perceived power dynamic favoring a select few wealthy individuals imposing their will on the greater populace.
Source: www.theguardian.com
