Bea Gonzalez - The Mapmaker’s Opera

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In the tradition of Allende, this is a magical novel, written in the form of an opera, and set in Seville and Mexico in the late 1800s.Act I opens in Seville. Emilio has been forced by his overbearing mother into the priesthood. Monica is a governess in a wealthy household who falls pregnant by the head of the house. A chance meeting in Seville cathedral suggests a solution to both their predicaments – they decide to marry, though it is not a love match. Emilio raises Monica's son Diego as his own, and they form a close bond over their mutual love of language, books, maps and birds. When Emilio dies, Monica reveals that he was not Diego's father. She grows ever more embittered and eventually dies, leaving Diego to pursue his true calling – his love of birds.Act 2 follows Diego's life in Mexico – his apprenticeship to an American who is mapping the birds of Mexico; his love for Sofia, the beautiful, independent daughter of a Mexican farmer; and his obsession with saving the Passenger Pigeon from extinction. The cities of Seville and Mérida are so central to the narrative, and evoked so beautifully, that they are almost characters themselves.Taking in many of the stock characters that appear in the best operas – the philanderer, the wronged wife, the harassed servant, the star-crossed lovers – The Mapmaker's Opera is an original and magical novel which will appeal to lovers of Gabriel Garcia Marquez and Isabel Allende.

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BÉA GONZALEZ

The

MAPMAKER’S OPERA

Copyright This novel is entirely a work of fiction The names characters and - фото 1

Copyright

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

HarperCollins Publishers

1 London Bridge Street,

London SE1 9GF

www.harpercollins.co.uk

First published in Canada by HarperCollins Publishers 2005

A paperback original 2006

Copyright © Béa Gonzalez 2005

Béa Gonzalez asserts the moral right to be identified as the author of this work

A catalogue record for this book is available from the British Library

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication.

Source ISBN: 9780007207794

Ebook Edition © JUNE 2016 ISBN: 9780007386505

Version: 2016-08-24

Dedication

For Andrew, who taught me to look up at the sky, and our dear pingüinos, Will and Andre, who bring such joy to our lives.

Seguiriya

No soy d’esta tierra I’m not from this land,
Ni en eya nasí: Nor was I born here;
La fortuniya, roando, roando Fate, rolling, rolling
M’ha traío hasta aquí. Brought me this way.
Ar campito solo To the fields
Me voy a yorá; I wander to weep;
Como tengo yena e penas Filled with such sorrow and grief
El arma It is only solitude
Busco soléa. I seek.
Las cosas del mundo The things of this world,
Yo na la jentiendo. I just don’t understand
La mitad de la gente llorando Half of the people cry,
Y la otra riendo. While the other half laugh.
Horas de alegría The happy times
Son las que se van How fleeting they are,
Que las penas se queden While the sad times
Y duran Last and last
Una eternidad. An eternity at least.
Arbolito del campo The little tree in the field
Riega el rocío Is watered by dew
Como yo riego Like I water the cobblestones
De tu calle Of your street
Con llanto mío. With the weight of my tears.
Cuando yo me muera When I die
Mira que te encargo: I ask you do this for me:
Que con la jebra de tu Take a strand of your
Pelo negro Brilliant black hair
Me amarres las manos. And bind my hands with it.

Dramatis Personae

Emilio, a seminarian Tenor
Mónica, governess in the house of Don Ricardo Medina Mezzo-soprano
Remedios, mother of Emilio Contralto
Doña Fernanda , wife of Don Ricardo Medina Contralto
Don Pedro, priest and confidant of Doña Fernanda Baritone
Raimundo , master of the Medina house Bass-baritone
Don Ricardo Medina, head of the Medina clan Baritone
Alfonso, bookseller and Emilio’s uncle Bass
Diego, son of Mónica and Don Ricardo Tenor
El Señor Raleigh, English traveller, friend of Emilio and Diego Bass
Edward Nelson, Diego’s mentor Bass-baritone
Very Useful, Mr. Nelson’s servant Baritone
Sofia Duarte, daughter of Roberto Duarte Soprano
Don Roberto Duarte, Yucatecan hacendado, bookseller Bass-baritone
Gabriela , wife of Roberto Duarte Mezzo-soprano
Doña Laura, mother of Roberto Duarte Contralto
Aunt Marta, Gabriela’s sister Mezzo-soprano
Don Victor Blanco, henequen magnate Bass
Carlos Blanco, son of Victor Blanco Baritone
Rosita, childhood friend of Sofia Soprano
Patricia, friend of Sofia Soprano

Contents

Cover

Title Page

Copyright

Dedication

Seguiriya

Dramatis Personae

ACT ONE

Overture

SCENE ONE: As we walk on sacred ground

SCENE TWO: We listen to the woes of Doña Fernanda

SCENE THREE: On a stone bench, a seguiriya

SCENE FOUR: Inside a bookstore on the Calle San Vicente

SCENE FIVE: Sorry her lot

SCENE SIX: The house on the other side of the world

ACT TWO

SCENE ONE: In a Mérida square

SCENE TWO: Two birds

SCENE THREE: In a Mérida bookstore

SCENE FOUR: A hacienda on the outskirts of bliss itself

ACT THREE

SCENE ONE: Inside the oldest cathedral of the New World

SCENE TWO: At the Virgen de Guadalupe Ball

SCENE THREE: Ah! je vais l’aimer

SCENE FOUR: A song with wings

SCENE FIVE: Two birds in hand

THE CURTAIN CALL

Acknowledgments

About the Author

About the Publisher

ACT ONE

Overture

It begins in a once-upon-a-time land, on a remote plain, far from the place we call home. It begins with a dreamy voice, closed eyes, and a glass of warm milk to tame the chill of a too-cold night.

In the background, the first notes sound out, preparing to lure us in.

A seguiriya tonight, perhaps?

“No, something livelier,” she says, “something irrepressible, something joyous.” She stops to think. “Ah, yes, I have it, niños! A bulería sung by the incomparable Lola Flores, all passion, all grit, a voice with which to tame the wind!”

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