La Loba Negra Sypnosis

A three-act opera by Francisco Feliciano with a libretto by Fides Cuyugan-

Asensio is titled La Loba Negra (The Black She-wolf). An alleged Jose Burgos novel
served as the inspiration for the opera. The opera depicts the tale of Governor-General
Francisco Bustamante, his subsequent murder, and his wife Luisa, now known as La
Loba Negra, who exacted retribution after her husband's death.
A curse on a young, attractive woman from a wealthy family in Mexico makes her
turn into a wolf-woman at night and murder people. She develops feelings for the
werewolf doctor she visits to be released from her curse. Unfortunately for them both, a
trained werewolf-killing dog puts an end to their romantic murderous rampage when it
kills both.
The music was written in a vibrant expressionist style, contains violent contrasts
in pitch and instrumentation, rapidly shifting keys and meters, and vivid orchestral color,
as heard in eerie wolf calls and forest sounds. The work was premiered in 1984 at the
Cultural Center of the Philippines, with the Philippine Philharmonic Orchestra conducted
by the composer. It was acclaimed by critics as an extraordinary work of the 1980s. The
last production was in 1985, with the same cast and venue. Occasionally, excerpts of
the opera were performed.
 Sypnosis
Prologue- A forest
he opera opens with a terrifying prefiguration of a lady dancing around a priest
bound to a log. She lashes out at the priest in a fit of rage. A loud howling "wolf-sound"
can be heard among total darkness and diverse forest sounds.
Act 1, Scene 1 Palace’s Ballroom
A ball in his honor, Fernando Miguel Bustamante, the new Spanish governor
general of the Philippines, is currently taking place. The assembled visitors have come
to the palace to present welcome gifts. To their dismay, he reacts to their chant of "Viva
El Rey, Viva Espaa, Viva El Governador Bustamante" with an attack on extravagant
spending and ostentation as well as bribes, which he claims will only result in
corruption. The opera opens with a terrifying prefiguration of a lady dancing around a
priest bound to a log. She lashes out at the priest in a fit of rage. A loud howling "wolf-
sound" can be heard among total darkness and diverse forest sounds.
He reminds the people of the glory that is Spain and tells them to keep the trust
of King Felipe V. The entrance of Fray Totanes posturing elicit sarcastic remarks from
the governor causing embarrassment to the governor's wife, Luisa. They exit, hailing the
King and Spain. A minor disturbance is caused by the entrance by Macatangay, an
Indio servant, with message to the governor from his employer, Auditor General
Torralba.
Fray Totanes now holds court with the exit of the Governor. Known as the Friar
King, Totanes grabs the chance to assert the church's power over the state, prompting
Dolores, the Governor's daughter, to chide the Friar for speaking thus in her father's
palace. Totanes parries her accusation with a lascivious gesture of apology. Dolores
exits, followed by an interested young friar. Totanes accepts all the gifts meant for the
Governor to augment the church's treasury. Dona Luisa reappears on the scene
bothered her daughter is nowhere to be found. The curtain falls on Fray Totanes,
blessing the guests, reassuring them of a place in heaven.
Scene 2 - Palace's Family Room
Scene 2 opens with Luisa singing a lullaby, "Huitzilipochtli" accompanying herself
on the harpsichord. Dolores, embroidering nearby, listens distractedly. She parries
questions from Luisa with her own questions about the subject of the lullaby. Luisa has
very grave suspicions about Dolores' state of mind but is distracted by the governor's
entrance, on his way to investigte the state of the King's treasury at Auditor General's
Torralba's office.
Scene 3 - Auditor-General's office
Friar Totanes was in full view and hearing of Auditor Torralba exacting their
share of taxes from the various merchants gathered to get their trade permits. After
sharing the "loot", Totanes gives Conchita, his mistress, her share. Bustamante enters
and demands to know the state of the King's Treasury in the colony. The confrontation
lasts a few minutes, whereupon Bustamante discovers an empty treasury and orders
the immediate incarceration of Torralba at Fort Santiago - the dreaded jail for political
prisoners and criminals at the time. Torralba is in shame and remorse while Bustamante
in pity and disgust over what has come to pass in his beloved King's colony.
Act 2, Scene 1 - Town Plaza
A religious demonstration procession is in progress against the injustices
imposed by the new governor who has ordered various state and religious officials,
including the Archbishop of Manila, jailed in Fort Santiago for offenses against the King
of Spain. The demonstration is dispelled by the Governor's soldiers. But after the
departure of the Governor's messengers and soldiers, the crowd resumes the
invocations to the Saints to free the prisoners.
Scene 2 - Cathedral Interior
The priests are now out in full-force to plot the extermination of their most hated
enemy: Governor-General Bustamante. Amidst a backdrop of evil conspiracy in a
"Mass" without a service, where the altar was a symbolic coffin covered by a black
cloth, draped with a Spanish flag topped by a huge crucifix, Fray Totanes exhorts the
gathered hooded priests to rid the community of Bustamante, be it by sword or by
poison. "Muerte, Muerte Para El Traidor Bustamante" (Death, death to the traitor
Bustamante) is chanted by priests as they exit on their way to the governor's office.
Scene 3 - Palace's Living Room
Bustamante is getting ready for an early mass. Before they leave, a messenger
comes to warn of the Governor of the impending assassination plot. Bustamante tells
Luisa about their situation as the assassins close in on the palace. Luisa witnesses the
brutal killing of her son Jose and her husband Fernando. As she prays to Jesus Christ
and the Virgin Mary asking for redress of the crime committed on her loved ones, her
mind snaps. She evokes the Aztec god Huitzilipochtli to assist her in avenging the
killings that have taken place. With inhuman scream of pain, she rejects her Christian
background.
Act 3, Scene 1 - Church Interior
Luisa, now the La Loba Negra, commences on her avenging mission amidst
elaborate Palm Sunday rituals.
Scene 2 - Town Plaza[edit]
La Loba Negra's fame has spread for and wide. Both clergy and lay people live in
daily fear of where she will strike next. Conchita, in mourning attire, was mistaken for La
Loba by Padre Sevilla, a new Friar. He tries to kill her but other friars come to her
rescue laughing at Padre Sevilla. Luisa, watching the scene, moves together with
Dolores (now called Florentina), to begin yet another orgy of killing friars. Unknown to
her, Macatangay, now a rebel leader, is also on the scene with his band of followers.
Macatangay and Luisa meet. Upon hearing of the reason of Luisa's legendary massacre
of priests of her own race, he asks a plea to Luisa for her to join him not to avenge her
husband and son's assassination but to free the country of its oppressors. Enlightened,
Luisa joins forces with them.
Scene 3 - Mountain Hideout[edit]
The scene is carried back to the Prologue with Luisa castigating the Friar
responsible for her daughter's seduction and rape. All emotions of revenge for
revenge's sake has been purged out of Luisa - she is now one with the indios of her
adopted country. The wedding of her daughter to Sandugo ensures her and
Macatangay's mission in life - and death.
Before Luisa dies, she speaks of a bright tomorrow after the long night,
"Napakahaba na ng Gabi" (The Night is so long) her spirit lives on in "Sulong, Mahal
kong Kababayan" (Advance, my beloved countrymen) sung by the entire chorus.