Music

• Opera is part of Western classical music form and tradition. It started in Italy at the end of the 16th century and soon spread throughout the rest of Europe.
• The dialogues in opera are sung and not spoken - they are called recitatives.
• Philippine Opera

  The emergence of the Filipino opera started to take shape during the middle part of the 19th century.
• Foreign performers, including instrumental virtuoso, as well as opera singers and Spanish zarzuela which is also known as the drama simbolico dominated the Philippine theater scene.
• As the locals were being exposed to Western art and music, they were also realizing their inner talents and passion for opera.
• The themes were ripe for voicing out sentiments about their love for the country and longing for independence from colonial rule.
• The element of tragedy, emanating from the popular themes of romance, deceit, murder, vendetta, and other elements of human frailty, became a favorite narrative of the Filipino opera.
• Some works were based on previous literary creations, such as Rizal's Noli Me Tangere and El Filibusterismo.
• Tragic endings and unresolved conflicts made for excellent choices of opera productions.
• Sandugong Panaguinip


  The first Filipino Opera, with libretto in Spanish by Pedro Paterno and music by Ladislao Bonus
• Sandugong Panaguinip was first staged at the Zorilla Theater on August 2, 1902.
• Subsequent Filipino operas followed sporadically, such as Lakangbini by Patricio Mariano that was staged at the Metropolitan Theater on December 19, 1933.
• The establishment of the Cultural Center of the Philippines (CCP) in 1966 paved the way for other Filipino operas to be staged at a legitimate venue of international standard.
• La Loba Negra


  A three-act Filipino opera, with music composed by National Artist Francisco Feliciano and libretto by soprano Fides Cuyugan-Asensio
• The premiere of La Loba Negra was held in 1984 with National Artist for Theater and Film Lamberto Avellana as director.
• Governor


  Downplays ostentatious revelry and gift giving as a sign of potential corruption
• Fray Totanes


  Friar/priest who asserts the power of the church over the state
• Fray Totanes takes advantage of the Governor's exit


  Asserts the power of the church over the state
• Dolores


  Governor's daughter who chides Fray Totanes for his unbecoming remarks
• Fray Totanes intercepts the gifts meant for the Governor and gets them to add to the Church's treasury</b>
• Doña Luisa


  Sings an aria Huizilipochtli about an Aztec god
• Dolores suspects the impending result of the investigation


  Weeps bitterly as her mother tries to comfort her
• Fray Totanes witnesses Torralba collecting taxes from merchants to get their trade permits, then shares the "loot" with Fray Totanes</b>
• The Governor discovers the Treasury coffers are empty
• The Governor orders Torralba's immediate imprisonment in Fort Santiago
• Duet Anong Saklap Nitong Pangyayari


  Torralba in remorse and shame, Bustamante in pity and disgust
• The continuing crackdown of Governor Bustamante on the religious officials did not spare even the Archbishop of Manila as they were all detained in Fort Santiago
• A religiously led demonstration ensues in the Town Plaza but is quickly dispelled by the Governor's soldiers
• Fray Totanes exhorts the priests to come out in full force to plot the assassination of their most hated enemy, Governor Bustamante
• A mass is held without the usual service as the altar is covered black to symbolize a coffin, topped by the Spanish flag and a crucifix
• The assassins reach the palace and kill the Governor along with his son Jose
• Doña Luisa, witnessing the brutal killing


  Asks the Lord and the Virgin Mary to forgive the perpetrators, but her mind snaps and she instead invokes the Aztec god to assist her in avenging the murders
• Doña Luisa


  Now disguised as La Loba Negra (The Black She-Wolf), commences her revenge during the elaborate ceremonies of Palm Sunday
• Doña Luisa killed over 200 priests in a span of two years
• Macatangay joins forces with La Loba Negra, they continued in their ritual religious murders
• Doña Luisa castigates the friar responsible for the seduction and rape of her daughter
• Doña Luisa's vengeful emotions have now been purged out, and she becomes one with the indios of her adopted country
• Before she dies, Doña Luisa was heard singing Napakahaba ng Gabi, speaking of a bright tomorrow after the long night
• The dramatic moods are particularly depicted in the murder scenes that are effectively contrasted with the solemn sounds and religious fervor of the liturgical rites
• The somewhat debatable moral issue of vengeance may perhaps be explained by the temporary insanity of Doña Luisa