FULL O Grito de Mueda – Primeira Ópera Nacional de Moçambique Rio de Janeiro 2025

Information on the Performance

• Work Title: O Grito de Mueda  
• Composer: Feliciano de Castro Comé, Hortensio Langa, Ilidio Manhica, Pedro Tinga, Samuel Manhica Jr., Luis Caruana, Diego López y Oscar Castro, Maria José Chevitarese, Isaías Ferreira  
• Libretto: Nilza Laice, Oscar Castro , Feliciano de Castro Comé, Hortêncio Langa    Libretto Text, Libretto Index
• Venue & Opera Company: Salão Leopoldo Miguez, Rio de Janeiro, Brazil  
• Recorded: September 16, 2025
• Type: Staged Opera Live
• Singers: Escola de Música da UFRJ
• Conductor: Feliciano de Castro Comé  
• Orchestra: Camerata de Cordas da UFRJ  
• Chorus: Coral Brasil Ensemble  
• Stage Director: José Henrique Moreira  
• Costume Designer:   

Information about the Recording

• Published by: TV SUAT  
• Date Published: 2025  
• Format: Streaming
• Quality Video: 4 Audio:4
• Subtitles: yessubs, gensubs, othersubs  

• ADDITIONAL INFORMATION ON THIS PERFORMANCE

  This opera is the result of a collective creative effort involving several Mozambican, Argentine, and Brazilian musicians and playwrights. The libretto was written by Nilza Laice, Oscar Castro , Feliciano de Castro Comé, and Hortêncio Langa. The opera is a free artistic recreation of the Mueda Massacre, which occurred in Cabo Delgado province, northern Mozambique, on June 16, 1960. This tragedy of the Mozambican people was fundamental in building independence consciousness, which soon materialized in the struggle for national liberation. At times, the libretto refers to the need to fight for African unity, to resist the arbitrary actions of those in power, to solidarity among African peoples, to the need to strengthen self-esteem, and to fight poverty and adversity. 

  The deeds commemorated in the opera are not intended to undermine the great friendship and cooperation that exists today between the two peoples, who in 1960 had different views on Mozambique. However, it is necessary to analyze history and cultivate memory so that past mistakes are not repeated and successes are effectively channeled for the benefit of all. Among other objectives, this opera aspires to bring a message of hope to new generations.

  The music was composed by Feliciano de Castro Comé, Hortensio Langa, Ilidio Manhica, Pedro Tinga, Samuel Manhica Jr., Luis Caruana, Diego López y Oscar Castro, Maria José Chevitarese, and Isaías Ferreira. Although some of the melodies and rhythms in the opera were inspired by Mozambican music that had been passed down through oral tradition, The Cry of Mueda is a completely original composition.

   ARGUMENTATIVE SYNTHESIS

  Prologue: An elderly woman, survivor of the Mueda Massacre, wishes to leave her testimony before she dies.

  Act I: Rural school in Mueda, June 15, 1960. The students wait for class to begin. The teacher arrives, accompanied by a foreign Jesuit missionary, a bandoneon player. The students want to learn about this strange instrument. After playing a few notes, the missionary is invited to collaborate with the teacher, who that day is teaching the names of the continents. The class is abruptly interrupted by the crying of a teenage girl. A young woman explains that the teenager’s mother died and that her father plans to marry her off to collect lobolo [2] . The teacher reassures her and asks the missionary to accompany the teenager to her home. Class resumes, but is again interrupted by the arrival of peasants. They ask the teacher to write a petition to be delivered to the Governor of Cabo Delgado at a meeting called by the colonial authorities, to be held the following day. The peasants dictate their demands to the teacher, believing that they will be met by the Portuguese government. A nurse and a bus driver join the group, both passing through Maputo [3] from Tanzania, a country that had already gained independence from the British Empire. The students overhear the adults’ conversation and ask to join them for the meeting the next day. The teacher refuses and recommends that the students ask their parents for permission.

  Act II: Makonde Village, June 16, 1960, very early. A mother sings while cradling her baby; other men and women work at various tasks. Pedro and Ana, two of the school’s students, ask their parents for permission to attend the meeting with the Governor. Their parents categorically refuse the request, but when the young people insist, they give in, deeply worried and fearful. As the young people are about to leave, a Mapiko dancer (who embodies the spirits of ancestors), through his dance, warns the young people of the danger of confronting the colonialists. The young people don’t understand the message and leave for the meeting.

  Act III: Mueda Administration Building, across from the central square. Noon on June 16, 1960. The Governor of Cabo Delgado, the Administrator of Mueda, and the Colonial Army Commander exchange opinions on the population’s likely reaction to their leaders being imprisoned. Intrigued by the presence of a foreign missionary touring the villages, they summon Father Madeira to ask for an explanation. While waiting for the priest’s arrival, they speak of the young and beautiful native women, referring to them with sexual connotations. The people of Mueda arrive at the square, and their leaders read the manifesto with their demands. The Portuguese authorities mock the petition and reaffirm their dominance over Mozambique. The peasant leaders are violently imprisoned by the colonial army. When the people try to defend them, the Governor orders fire opened on the crowd. Many fall dead while others flee in terror. As the sun sets, the family and friends of the dead return to the square to gather their loved ones and, in a final song, reaffirm their desire for freedom.  

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