One of the reasons I am especially interested in the history of Opera in México, is that there are two deliberate ‘opera-style’ numbers in The Mapmaker’s Opera. Well it makes sense, since the word ‘opera’ is in the title, even though our adaptation of Béa Gonzalez’s novel is a Broadway Musical!
The first of these is ‘Madness Rules‘ for the character of Edward Nelson in Act I. The other is a song for the character of Carlos (Don Victor Blanco’s son) in Act II (sorry we’re not planning to make an audio demo of this – but I’d like to!)
But before, we have a short journey around the history of opera in México from the late 19th-Century through to the mid-20th-Century, it strikes me for those of you who are not sure of the answer, why is Béa Gonzalez’s novel so titled? I think the most eloquent answer to this was written by Kayla West in her Review (‘Wondrous Story’, Dec. 2012) of Béa’s novel at Amazon .com (yes, click on the link, buy the book, and read it!)…This has to be one of the most exquisite stories I have ever read in my life. It also has to be one of the most unique tellings of a story that I have ever read. You see, the reason for this is because it is an opera. The main characters that are mentioned by name in the story are, ultimately, the singers in this written production. They are mentioned beforehand in a list of their respective titles and roles, along with the tone of voice they sing. We have our lead soprano, Sofia Duarte, and our lead tenor, Diego Clemente, along with other mixed, but just as prominent, voices scattered about the pages of this book. But the characters are only one part of the whole that is The Mapmaker’s Opera. Continue Reading →