Touring 15 February - 12 March
Theatre legend Michael Gow creates an exciting new chamber opera, with music realised by Calvin Bowman and the late Alan Curtis. Voyage to the Moon combines gems from Handel and Vivaldi with rediscovered treasures from little-known 18th-century composers.
Leading Australian singers, soprano Emma Matthews and mezzo Sally-Anne Russell, share the stage with a brilliant newcomer, bass-baritone Jeremy Kleeman along with a hand-picked band of leading chamber musicians led by Phoebe Briggs, Head of Music at Victorian Opera.
Voyage to the Moon is a story told with old music, new words and beautiful singing. A semi-staged performance with cast in costume, this is a magical story of a knight’s heroic journey to the moon in a tale of love, loss and hope.
Voyage to the Moon is an exciting collaboration between Musica Viva and Victorian Opera, in partnership with the Performance Program of the Australian Research Council Centre of Excellence for the History of Emotions, led by Professor Jane Davidson and assisted by Alan Maddox. This tour is supported by the Musica Viva Amadeus Society.
Related programs and talks
Discover more about pasticcio operas and Baroque music, as well as the story and concept behind Voyage to the Moon through a series of pre-concert talks, ‘meet the artist’ events, and a free Baroque music day in Melbourne, featuring top international scholars and artists.
Audience research project
As part of Voyage to the Moon, a comprehensive voluntary audience study will be conducted by the Australian Research Council Centre of Excellence for the History of Emotions. The study will track participants’ emotional experience throughout the performance using software available on iPads. Participants will be pre-selected volunteers who will be seated in a discrete section of the balcony to ensure that other patrons will not be affected. The iPads enable researchers to track emotional responses to the music while the audience listens. A two dimensions measure traces the pleasantness/unpleasantness of the emotions the tracker is experiencing on one dimension and the degree of activation or arousal felt on the other dimension. The researchers will then triangulate these data with participants’ survey results.
Audiences around the country will also be able to give detailed feedback in post-concert survey, both at the event and online. Be sure to look out for researchers at the event who will be offering the opportunity to participate in the survey and/or to be interviewed in person.
For more information on the Australian Research Council Centre of Excellence for The History of Emotions, visit www.historyofemotions.org.au