uter space has often served as inspiration for famed composer Vangelis. An enthusiasm for astronomy spurred the creation of his 1976 LP Albedo 0.39, with cuts from that disc and Heaven and Hell (1975) extensively incorporated into the soundtrack for the TV series Cosmos. His latest album, Mythodea, once again finds Vangelis venturing out into the universe, although this time his destination is a bit closer to home. This extraordinary new collection spotlights performances from a full orchestra and chorus—along with contributions from opera superstars Kathleen Battle and Jessye Norman—on a remarkable 10-movement opus showcasing "Music for the NASA Mission: 2001 Mars Odyssey."
After a brief, atmospheric "Overture," the first segment of the aural expedition explodes with processed vocal countdowns, a hearty choral refrain and a moving homage to "Mars, the Bringer of War" from Gustav Holst's The Planets. Each ensuing section builds upon this foundation, adding,
among other elements, deep drums ("Movement II"), a mysterious Eastern motif ("Movement III") and a gorgeous, gossamer aria ("Movement V"). The piece climaxes during the lengthy "Movement IV," which opens with soft singing before intertwining airy effects, exhilarating symphonic sounds and haunting soprano voices. The concluding portions of the composition introduce a number of mellower themes, with the finale, "Movement X," robustly recalling the work's majestic opening.
Vangelis plays synthesizers and electronic keyboards, supplementing both the London Metropolitan Orchestra and The Athens Opera Choir. The booklet accompanying the CD includes a lightweight essay on the Red Planet from Laurence Bergreen (author of Voyage to Mars: NASA's Search for Life Beyond Earth), along with cover art that depicts, in part, the Temple of Zeus (in Athens, Greece), where a live presentation of Mythodea was staged in June 2001.
Moving music by which to boldly go
Among science-fiction fans, Vangelis is best known for writing the legendary score to Blade Runner (though he actually won the Academy Award for his efforts on another film, Chariots of Fire). While the themes from these motion pictures remain impressive and influential, folks expecting similar sounds on Mythodea will definitely be surprised. In fact, casual listeners might find the melodies excessively complex and overly operatic. Nonetheless, those individuals who take the time to fully immerse themselves in the material will be richly rewarded with a genuinely imaginative and meaningful musical interpretation of the 2001 Mars Odyssey mission.
"Movement II" provides an early indication that the work is not typical "space music" folderol. Resonant male voices slowly intensify above martial percussion, serving not only as a subtle allusion to the ancient deity from which the planet Mars derives its name, but also as a crafty Greek chorus signaling humanity's ages-old longing to explore—and conquer—the heavens. At the same time, other portions of the piece introduce more contemplative elements. Twinkling noises and a striking vocal solo emphasize loneliness and desolation during "Movement VI," just as the quiet strings and
poignant chants of "Movement IX" simultaneously convey sadness and hope. These later sections clearly signify both the ongoing research aspects of this particular project and humankind's enduring desire for a better understanding of the cosmos.
Battle and Norman enhance the proceedings with flawless performances and classical elegance, while the orchestra, which includes nearly two dozen percussionists, generates an invigorating and appropriately uplifting backdrop. Ironically, Vangelis didn't specifically write this opus for NASA's Mars Odyssey—it's actually an adaptation of an opera first staged in 1993—yet the composition perfectly captures the essence of the mission and humanity's fascination with outer space. In that regard, Mythodea is truly a stunning accomplishment.
