Act 1 Scene 3a

Don Carlos Mateo Blanco III…


…is suddenly awakened in the middle of the night by the loud buzzing of a cell phone as it vibrates upon a coffee table next to a couch on which he was previously sleeping happily like a babe.

Anna-Maria Rodriguez: Don Carlos!

Don Carlos: Anna-Maria?

Anna-Maria Rodriguez: Si…

Don Carlos: I can explain mi amor…

Anna-Maria Rodriguez: ¡Silencio! Escúchame—señor Shaunessy has returned.

Don Carlos: Jackfreid Shaunessy?

Anna-Maria Rodriguez: Si and he’s spreading all kinds of lies about Master Iwasaki.

Don Carlos: Why that low down, dirty no good…

Anna-Maria Rodriguez: Exactamente. Don Carlos, having mounted Isabella, you must proceed to Santa Rosa ahora mismo!

A little background here:

1) Isabella is a horse. A horse white as snow, strong as the wind, with a the most beautiful flowing mane, a pleasant demeanor, loyal, steadfast, in a word the best horse a man could ever want.


2) Contrary to popular belief, cell phones, and especially flip phones, have been available in experimental form ever since the early 1960s.


Do you really think Gene Roddenberry and Matt Jefferies dreamed that up all by themselves? Get real dude. And don’t get me started on the concept  of faster-than-light travel by means of warping the space-time continuum, teleportation, Panspermia, deflector shields and so on…

3) Any opera worth the paper it is written on amounts to naught if it does not contain a decent love story.  Thus the introduction of the character Anna-Maria Rodriguez.

Anna-Maria_sepiaThe epitome of female power, the very sight of Anna-Maria simultanteously fills men (and some women) with intense emotions such as Love, Lust, Terror, Passion, Confusion, etc. short-circuiting our brains and reducing us to creatures ruled by glandular secretions and bodily movements rather than Reason, Logic, and other higher functions associated with the Frontal Lobe. Add to this her propensity for anger, and you have what many claim to be incontrovertible proof that Anna-Maria Rodriguez is no less than an incarnation of the Hindu Goddess Kali decended from the celestial realm to avenge the sins of our patriarchal society, eradicate all that is evil in the world, and welcome a new era of Peace and Sensibility for all of humankind.  Others suspect that she is really the Goddess Pele, but why would Pele deign to leave an island paradise in order hang out in a quaint little town in Northern California?  No, my vote is for Kali, especially considering the ever-growing demographic of yogis and yoginis in the region.

Now for some unknown reason Anna-Maria has it firmly set in her mind that Don Carlos Mateo Blanco III is the man that God has intended for her to marry, her soulmate, the fulfillment of her destiny, and so on. Could be. He is Handsome, Courageous, Purposeful, Eloquent, Well-educated, Hard-working, Passionate at times—all good qualities for a mate.  But also lurking in the depths of his personality is an aloofness towards women that appears occassionally with little warning.  This irks Anna-Maria mightily because when it kicks in her attraction to him increases as the square of the distance that he puts between her.

Anna-Maria Rodriguez: Don Carlos? Could I ask you a question?

Don Carlos: What is it?

Anna-Maria Rodriguez: Why did you leave Santa Rosa so suddenly without even saying goodbye? What happened? Why did you leave me like that?



Anna-Maria’s Aria: “¿Qué Pasó?”

¿Qué pasó? ¿Qué pasó? [What happened? What happened?]

¿Ahora que hago? [Now what do I do?]

Ah no, no, no! [Oh no, no, no!]

No puede estar pasando. [This is cannot be happening.]


¿Dónde estás? [Where are you?]

¿A dónde vas?  [Where are you going?]

Insensiblemente me dejas acá… [Callously you leave me here…]

me pregunto, señor Don Carlos, [I wonder, señor Don Carlos,]

¿por qué me abandonaste? [why do you abandon me?]

¿No sé cómo curarme, mi corazón, [I don’t know how to heal myself, my heart,]

mi roto corazón, mi corazón. [my broken heart, my heart.]


¡Mírame! Escúchame! [Look at me! Listen to me!]

Busco la respuesta. [I’m searching for the answer.]

Pero no comprendo, [But I don’t understand,]

lo que está pasando. [what is happening.]


Esos sentimientos son dentro de mí, [These feelings are always inside of me,]

controlar mi cuerpo, infectar mi alma, [controlling my body, infecting my soul,]

Oh Don Carlos! Oh Don Carlos! [Oh Don Carlos! Oh Don Carlos!]

Desesperadamente, [Desperately,]

clamaré…ah…mi…corazón,  [I cry out…oh…my…heart,]

mi corazón, mi roto corazón, corazón. [my heart, my broken heart.]


Don Carlos: Oh Anna-Maria, mi amor, I love you with all my heart, you are like my very soul.

Anna-Maria Rodriguez: Verdidamente? You have a most cowardly way of expressing it.

(Add a sharp tongue to the list of Anna-Maria’s divine attributes.)

Don Carlos: Ah me! I am lost without you Anna Maria—if only I could make you understand, mi alma, mit amor, mi amor perdido…


Don Carlos’ Aria: “Mi Amor Perdido”

Cómo te amaba mi amor perdido. ¿Cómo ahora el tiempo pasará?
Cómo te adoro mi amor querido. Qué dolorosa mi vida será.
Porque te miraré perdidamente, no me quedaré.  No me sientes.
Guardaré mi amor secretamente, y hago voto que lo protegeré.
Aunque me tratarás muy gravemente, sueño contigo constantemente.
Yo sé que mi alma te tiene, aunque tu cuerpo ya no toco.
Cómo te amaba mi amor perdido. ¿Cómo ahora el tiempo pasará?
Cómo te adoro mi amor querido. Qué dolorosa mi vida será.
¡Ay, mi corazón no lates!  ¡Oh, mi aliento se para!
¡Y mi vision se está borrando!  ¡Ahora mi cuerpo no siento!
Mi vida entera está pasando a través de toda mi mente.
Espero, oh Dios, que seas compasivo. Sin duda estoy moribundo.
Cómo te amaba mi amor perdido. ¿Cómo el tiempo se puede pasar?
Cómo te adoro mi amor querido. Una fantasía mi vida será.


Those of you who no habla español and have not yet purchased Jackfreid Shaunessy’s shiny books are invited to copy and paste the above aria into the following URL:

OK Google messed that up pretty badly, but you get the general idea.

Now having devised a love story and introducing the players, it is up to the librettist to holistically integrate said love story into the over-arching themes within the opera, lest it be nothing more than a cheap device used to deliver us a few thrills, provide an excuse to sing some songs, etc…

Anna-Maria Rodriguez: Oh Don Carlos! Now I know that you really do love me! Forget about Jackfreid and ride with Isabella directly to mi casa—let us elope and be married without another thought.  I always knew that you were to be mine, that Dios himself had fashioned us out of the same clay and separated us for some mysterious reason.  Now we can re-unite, carry out His divine plan, start a family…

Isabella, having been awakened by all the late-night singing offers her opinion:

Don Carlos: Err, we have un pequeño problema mi amor…

Anna-Maria Rodriguez: Que?

Don Carlos: You see as a result of my rigorous training as a youth with Master Iwasaki, I have been rendered incapable of satisfying a woman.

Anna-Maria Rodriguez:  You mean?

Don Carlos: Yes, whereas Jackfreid Albert Shaunessy is like a mighty tree, strong, tall, and proud, I am forever relegated to follow the path of the bent reed.

Act 1 Scene 3b