LA LOBA NEGRA La Loba Negra (The Black She-Wolf) is a three-act Filipino opera. Acts I and II are based on history.

Act III is
based on a legend attributed to Fr. Jose Burgos, one of the three martyred priests Gomez, Burgos, and Zamora who were
executed in Bagumbayan (now Luneta) in 1872. The music was composed by National Artist Francisco Feliciano, with libretto by
soprano Fides Cuyugan-Asensio. The premiere was held in 1984 with National Artist for Theater and Film Lamberto Avellana as
director. SYNOPSIS: The opera begins with a Prologue depicting the scene of a woman dancing around a priest tied to a log. She
scolds him in a haunting atmosphere of pitch darkness and a howling wolf from the distance. The scene shifts to the Governor’s
Palace Ballroom where a welcome party in honor of the new Governor-General Bustamante is in progress. Upon the arrival of
the Governor, lavish gifts are offered to him by the various guests. To their surprise and dismay, the Governor downplays their
ostentatious revelry and gift giving as a sign of potential corruption in his song Makinig Kayo. The entry of Fray (friar/priest)
Totanes and his regal posturing further elicits sarcastic remarks from the Governor. As he and his wife Doña Luisa exit the scene,
an indio (Spanish term used for a Filipino native) servant named Macatangay enters with a message to the Governor from his
employer, Auditor General Torralba.

Fray Totanes takes advantage of the Governor’s exit by asserting the power of the church over the state in his song “Siya Ba ang
Magsasabi Sa Akin?” prompting the Governor’s daughter Dolores to chide him for his unbecoming remarks in her father’s
house. Fray Totanes apologizes without a trace of sincerity as Dolores exits followed by an “interested” young friar. Meanwhile,
Fray Totanes intercepts the gifts meant for the Governor. He got the gifts to add to the Church’s treasury. He blesses the guests
as he reassures them of a place in heaven. In the Palace’s family room, Doña Luisa is singing an aria Huizilipochtli about an Aztec
god which her daughter Dolores was curiously questioning about its meaning. Their conversation is interrupted by the Governor
who was on his way out to investigate the Auditor General’s office on the state of the Treasury. Dolores, suspecting the
impending result of the investigation amid the pocketing by the friars, weeps bitterly as her mother tries to comfort her. At the
Auditor General’s office, Fray Totanes witnesses Torralba collecting taxes from the various merchants to get their trade permits.
He then shares the “loot” with Fray Totanes who in turn gives part of his share to his mistress Conchita. The Governor enters
shortly, and after a brief confrontation with Torralba, discovers that the Treasury coffers are empty. He orders the latter’s
immediate imprisonment in Fort Santiago, a most dreaded place for criminals and political prisoners at that time. The scene
ends with a duet Anong Saklap Nitong Pangyayari by the two, with Torralba in remorse and shame and Bustamante in pity and
disgust over the situation. The chorus sings Sa Haring Pari, O Sa Paring Hari in the distance. 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. The
priests are exhorted by Fray (friar/priest) Totanes to come out in full force to plot the assassination of their most hated enemy.
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. As they march toward the Governor’s palace, singing Muerte, Muerte Para El Traidor Bustamante, a messenger
forewarns the Governor of the plot. But to no avail, the assassins can reach the palace and kill the Governor along with his son
Jose. Doña Luisa, witnessing this brutal killing, asks the Lord and the Virgin Mary to forgive the perpetrators. However, her mind
snaps at the shock of the moment, wherein she instead invokes the Aztec god to assist her in avenging the murders of her loved
ones. With a loud scream filled with pain and anguish, she has renounced her Christian faith. Doña Luisa, now disguised as La
Loba Negra (The Black She-Wolf), commences her revenge during the elaborate ceremonies of Palm Sunday. And together with
her sexually abused daughter, methodically slays the friars she encounters. She killed over 200 priests in a span of two years.
Her infamous reputation has spread as the religious clergy cower in fear. Macatangay, who has also become a rebel leader for a
different cause of achieving independence, joins forces with La Loba Negra. They continued in their ritual religious murders,
singing the songs O Poong Maykapal, Kayong Mga Namumuno, and Hindi Na Malayo Ang Araw. The scene is transported back to
the Prologue with Doña Luisa castigating the friar responsible for the seduction and rape of her daughter. Added to her earlier
murders of the friars for the deaths of her husband and son, Doña Luisa’s vengeful emotions have now been purged out. When
her daughter is wed to Sandugo, she has become one with the indios of her adopted country. Before she dies, Doña Luisa was
heard singing Napakahaba ng Gabi. She speaks of a bright tomorrow after the long night as the chorus sings Sulong, Mahal Kong
Kababayan. The music and libretto have closely collaborated to portray the dramatic moods in the opera. 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. It was caused by the brutal killings of her husband and son, wherein the Aztec god is portrayed as a scapegoat for the
Christian purge. As librettist Asensio concluded: “The night is long, but the sun will rise… and rise again in the East.”
NOLI ME TANGERE, THE OPERA The three-act opera Noli Me Tangere was composed by National Artist Felipe Padilla de Leon,
with libretto by National Artist Guillermo Tolentino. It premiered in 1957 at the FEU Auditorium. The cast included Juanita Javier
Torres as Maria Clara, Don David as Ibarra, Fides Cuyugan Asensio as Sisa, Milo Cristobal as Padre Damaso, and Morli Daram as
the director. There were several other productions that followed the premiere staging. SYNOPSIS: Act I The spacious sala of
Santiago de los Santos, otherwise known as Kapitan Tiago, in San Diego, is the setting for the welcome reception. It was a
gathering honoring the 22-year-old student Crisostomo Ibarra after a seven-year stay in Europe. The Gobernadorcillo and his
wife Doña Victorina lead the guest list that includes Padre Damaso, vocal in his criticism of the Filipino whom he referred to as
“indio” while also blaming the Gobernadorcillo for interfering in their local affairs. He continues this harsh attitude upon the
arrival of Ibarra when he ignores the latter as he tries to greet the friar. Ibarra is also shaken and shocked by the news of the
death of his father, where he confides to Don Filipo his puzzlement surrounding his father’s death. Before Ibarra left for San
Diego, Lt. Guevara, a civil guard, revealed to him the circumstances that led to his father’s death. Don Rafael Ibarra, a rich
hacendero of the town, was unjustly accused by Padre Damaso of being a heretic and a subversive and subsequently jailed. As
the case was almost being resolved, Don Rafael fell sick and died in his cell. His remains, initially interred at the Catholic
cemetery, were ordered transferred by Padre Damaso to another location.

Ibarra, although lamenting the fateful circumstances, does not hold revenge on his mind. Instead, he starts to reveal plans to
build a schoolhouse in memory of his father. He is only partly comforted by the announcement of the immenent arrival of his
beloved Maria Clara, the adopted daughter of Kapitan Tiago. She was accompanied by her aunt, Tia Isabel. Ibarra rushes to
greet them on their arrival. As the guests move into the dining room, the two lovers are huddled together reminiscing their past
moments spent together. Ibarra, still thinking his father’s death, begs to be excused to pay respects at his father’s grave while
Maria Clara fears disaster. Act II Scene I All roads lead to the cemetery as the people of San Diego observe All Saints’ Day.
Pilosopo Tasio meets Crispin and Basilio going to the church to ring the bells. The ringing of the bells will warn the people of a
coming storm. He cautions the two brothers to stay away from the bells to avoid being struck by lightning. Ibarra arrives at the
cemetery to look for his father’s grave. He is angered when one of the gravediggers informs him that he was ordered to transfer
his father’s body to another site. When he inquiries about the location of the new site, the man confides that he disobeyed the
orders. And instead, he threw the body into the lake. This causes Ibarra to jump at him in a fury and leave the cemetery in a
rage. As evening approaches amidst flashes of lightning and sounds of thunder, the Gobernadorcillo and Pilosopo Tasio are
engaged in sarcastic conversation. The scene shifts to Crispin who is suddenly accused of theft and is detained at the convent.
His brother Basilio runs to their mother Sisa but is shot in the leg. Sisa, confronted by the guardia civil, arrives, and protests her
son’s innocence as she breaks down in shock. Meanwhile, the bereaved Ibarra seeks counseling from Pilosopo Tasio who
advises the youth to “bend your head with the storm” like a bamboo. Heeding the advice of the wise man, Ibarra realizes
though that the authorities he intends to yield to be the same people that imprisoned and caused his father’s death. Scene II
The young people of San Diego hold a picnic by the lake to celebrate Ibarra’s return from Europe. Maria Clara is prevailed upon
to sing, wherein she renders the famous number Kay Tamis ng Buhay recalling the happy life in her native land. Meanwhile, a
group of fishermen arrive to lament the presence of a crocodile that prevented them from catching any fish. Elias, a woodsman,
volunteered to drive the crocodile away but is greatly endangered. Ibarra rushes to his rescue and saves Elias. In his gratitude,
Elias warns Ibarra of the approaching dangers from the latter’s enemies. As Sisa passes by, she is still lonely over her lost
children. Elias assists the insane woman to find the two children. While Ibarra continues to tell of his dream to build a school in
his father’s memory, Padre Damaso joins in the conversation and ridicules the plan as a “scheme of the viper.” To which, an
enraged Ibarra grabs a knife and attempts to stab him. Only the timely intercession of Maria Clara pacifies the young man.
However, this gives Padre Damaso an excellent opportunity to have him excommunicated. Act III Scene I As Ibarra has been
exiled from San Diego, Maria Clara is left depressed while her Tia Isabel and friends try to comfort her. Kapitan Tiago enters the
bedroom to tell the sad news that inspite of his appeal Padre Damaso has told him to cancel the wedding arrangements
between Maria Clara and Ibarra. Kapitan Tiago had in mind his relative Alfonso Linares to marry Maria Clara instead of Ibarra.
Doña Victorina then enters the room and together with Padre Damaso starts planning for the meeting between Maria Clara and
Linares. Meanwhile, Ibarra has sought the help of the Gobernadorcillo who manages to cancel his excommunication from the
church. He can return and visit Maria Clara to propose marriage. The couple’s rejoicing at the house of Kapitan Tiago is
interrupted by the arrival of the Alferez who arrests Ibarra for being involved in an uprising. Again, driven to depression, Maria
Clara seeks the help of the Heavenly Mother. A fire is seen from the closed window. Scene II Worried over the fate of Ibarra,
Maria Clara ignores Padre Damaso’s advice discouraging her from entering the convent. As she prays to the Heavenly Mother to
restore her lost love, Elias appears at the window, taking along Ibarra who has just escaped from prison. Ibarra is desperate at
the rumor of Maria Clara’s impending marriage to Linares. She explains that she was forced to accept the marriage agreement
to save her mother’s honor after finding out that her real father was in fact Padre Damaso! Nevertheless, she assures Ibarra that
her heart will always belong to him. Meanwhile, as Ibarra and Elias sneak out of the window, two gunshots are heard from the
guardia civil (civil guard). Maria Clara witnessed the tragic scene. She thinks that Ibarra had been shot and killed. But it was Elias
who was shot while Ibarra had managed to escape. Scene III Sisa is seen wailing her haunting refrain as she rests on a
tombstone. Basilio, still nursing the wounds on his leg, arrives and greets his mother. Unable to recognize him at first, Sisa
eventually recovers her fragile memory and embraces her son. However, the shock of the moment is too much for her heart and
she expires. Meanwhile, a seriously wounded Elias appears and instructs Basilio to build a pyre (funeral fire) for his mother and
him as he gives him a stash of hidden gold to fund his education. As the boy started to gather materials for the funeral pyre and
the early light of dawn appears, Elias gasps out his last breath of life.
EL FILIBUSTERISMO, THE OPERA The opera El Filibusterismo was composed by National Artist Felipe Padilla de Leon in 1970,
with libretto by Anthony Morli. It is in three Acts and written in Tagalog. It was first staged at the Cultural center of the
Philippines. The Novel Behind the Opera El Filibusterismo (The Filibuster) was a novel by Dr. Jose Rizal and a sequel to the
earlier Noli Me Tangere. It tells of the continuous struggle of the Filipino people to achieve freedom and emancipation from
colonial rule. Through the major characters involved, it reflects the prevailing state of Philippine government and society that
has become corrupt and immoral. For which, a revolution was being seen as the only solution for change. It was also perceived
as a warning from Rizal – an intellectual from the highest order. Although he favored a peaceful way of instituting reforms, the
seemingly hopeless situation points to armed rebellion in aim of independence. SYNOPSIS: The major character is Crisostomo
Ibarra. He had escaped from prison for subversion charges some 13 years before. He was thought to have drowned in the river.
He arrives aboard a steamship along with passengers from different walks of life. He disguised himself as Simoun in search of his
beloved Maria Clara. Maria Clara had become a nun after learning of Ibarra’s supposed drowning and because of her refusal to
marry another man as arranged by her evil father. In an earlier letter to Maria Clara, Simoun tells her of his plan to lead a
revolution. He had been sentenced for execution before he had managed to escape. Now, upon his return, he is bent on
fulfilling this plan by asking the support of key people. Simoun also comes across a medical student named Basilio while the
latter was visiting the grave of his mother Sisa. Basilio recognized the disguised Simoun as Ibarra. Basilio however refuses to join
his revolutionary cause. He preferred instead to marry his love Huli and lead a peaceful life devoted to healing the sick.

On the eve of the supposed revolt organized by Simoun, when a French vaudeville Les Cloches de Comeville was being attended
by Manila’s high society, he hears the news that Maria Clara has just died in the convent. He contemplated to commit suicide.
However, Maria Clara’s ghost appears and asks him to stay alive to atone for his destructive spirit. His first revolutionary
attempt has failed. In the meantime, his bitterness has jeopardized the love relationship between Juanito Pelaez and Paulita
Gomez. Paulita was an orphaned heiress cared for by her aunt Doña Victorina, and Isagani. She was raised by the secular priest
Padre Florentino. It also influences Basilio to join Simoun’s cause after his engagement. Huli has died in despair over Basilio’s
imprisonment. This was a betrayal by Simoun by pointing to him and other students for allegedly masterminding a revolution
that he himself planned. Still ignoring the warning voice of Maria Clara, Simoun hatches a second plan to be carried out during
the wedding of Paulita Gomez to Juanito Pelaez. His plan is to bring a crystal lamp as a wedding gift, but which contains deadly
explosives that would go off once the lamp’s oil runs out and is relit. This plan Simoun tells Basilio as they are dining in his
mansion. However, Basilio has a sudden change of heart and quickly warns Isagani, who is just arriving at the scene to watch the
wedding festivities. The shocked Isagani runs away with the lamp and throws it into the river. As Manila is scandalized by the
discovery of his plan, Simoun escapes the arrest of the authorities and takes refuge in the house of Padre Florentino near the
sea. He again tries to commit suicide by taking poison. As Simoun lay dying, Padre Florentino scolds him for his plot while
assuring him of God’s mercy. He also divests Simoun of his precious stones and hurls them into the waters. He called these evil
stones which should remain forever under the sea. From a distance, Isagani contemplates his desolation at a lost love amidst
the vastness of the sea while witnessing a passing procession for the Feast of San Diego