
audiobook

"APÔ-APÔ" - (ZARZUELA) - "Kung sinong Apô-Apô" - (KASAYSAYAN.) - Pantaleón S. Lopez - MAYNILA - Limbagan nina Fajardo at Kasama Daang Carriedo Blg. 101, Sta. Cruz - 1908.
TALAAN NG NILALAMAN - "APÔ-APÔ" (ZARZUELA)
"APÔ-APÔ" - MG̃A TAO SA OBRA.—MG̃A ARTISTA.
Tanging bahagi
P.S. Lopez. - KUNG SINONG - "APÔ-APÔ" - KASAYSAYAN - MAYNILA - Limbagan nina Fajardo at Kasama Daang Carriedo Blg. 101, Sta. Cruz 1908.
Sa aking Bayan
I. Kung sinong Apô-Apô.
II. Ang pag-owi sa bahay ni Kadiliman.
III. ¡Ang pakikipagkita ni Kadiliman sa canyang mg̃a casama!
A bustling blacksmith workshop opens the story, where brothers Ludovico and Tio Agong hammer away at iron while the rhythmic chants of their coworkers echo the rhythm of daily life. Their conversations reveal the tensions of a close‑knit community, hinting at rivalries, unspoken loyalties, and a marriage on the brink of strain. With lively music underscoring each exchange, listeners are drawn into a world where work, song, and family intertwine.
Soon a plaintive voice joins the mix as Soledad, a sorrowful wife, confronts her husband Vico about betrayal and looming hardship. Their heated dialogue, layered with poetic verses and traditional hymns, exposes personal grievances that echo larger social anxieties. The first act sets a vivid stage for love, ambition, and the resilience of ordinary folk in early twentieth‑century Manila.
Language
tl
Duration
~1 hours (87K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by Tamiko I. Camacho, Pilar Somoza and the Online Distributed Proofreading Team at https://www.pgdp.net. Special thanks to Matet Villanueva, and Ateneo Rizal Library-Filipiniana Section for helping to reconstruct some portions of this project. (This file was made using scans of public domain works from the University of Michigan Digital Libraries.)
Release date
2005-11-07
Rights
Public domain in the USA.
1872–1912
A Tagalog dramatist from Pandacan, Manila, he helped shape early Filipino musical theater and is remembered for lively zarzuelas and patriotic stage works. Though little biographical detail survives, his writing still offers a window into the energy of Philippine theater in the early 1900s.
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