Margaret Truman Murder at the Opera

ISBN 13: 9780786290055

Murder at the Opera

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9780786290055: Murder at the Opera
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When the Washington National Opera becomes the scene of a brutal murder, Mac Smith and his wife, gallery owner Annabel Reed-Smith, must stop an assassination plot targeting the president of the United States on opening night at the Kennedy Center.

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About the Author:

Margaret Truman has won faithful readers with her works of biography and fiction, particularly her ongoing series of Capital Crimes mysteries. Her novels let us into the corridors of power and privilege, and poverty and pageantry, in the nation’s capital. She is the author of many nonfiction books, most recently The President’s House, in which she shares some of the secrets and history of the White House where she once resided. She lives in Manhattan.

Excerpt. Reprinted by permission. All rights reserved.:

ONE

“Mac, you must do it.” “No.” “It’s an honor, for you and for the school.”

“I don’t see anything honorable about middle-aged men dressed in loincloths strutting around carrying spears. I thought we’d progressed beyond that.”

Annabel knew her husband wouldn’t be an easy sell. But his flippant comment meant she was making progress. There would be an obligatory protest before caving in.

“I’m not an actor,” he added.

They’d finished breakfast and had taken refilled mugs of coffee out onto the balcony of their Watergate apartment. It was a warm, muggy morning in early June, a harbinger of another sweltering summer in D.C. The sky was a milky blue. Below, the rippling waters of a cleaner Potomac River danced in the sunlight. Farther up the river, the familiar spires of Georgetown University rose proudly into the air.

“Of course you’re an actor,” Annabel said. “You can’t be a high-powered trial lawyer without being an actor. I saw you in action when you were trying cases. You were Olivier in a gray three-piece suit.”

“That was then,” he said. “Today I am just a stodgy professor, and happy to be.”

She considered her next argument. She’d practiced her own share of theatrics while representing clients in high-profile domestic disputes. That was then, too. She’d given up matrimonial law to open a pre-Colombian art gallery in Georgetown, which was doing nicely. Giving up their respective law practices had been a decision they’d come to at different times, and for different reasons.

For Annabel, attempting to mediate wrenching battles between warring spouses had become almost unbearable, especially when both sides were engaged in self-destructive behavior, domestic suicide bombers intent on injuring each other.

For him, the death of his first wife and only child at the hands of a drunken driver on the Beltway one rainy night had tipped the scales in favor of his escaping what had become one of Washington’s preemi- nent criminal law firms, abandoning it to his three partners, and becoming Mackensie Smith, professor of law at the prestigious George Washington University.

Neither Mac nor Annabel had regretted their decisions, not even fleetingly.

“Mac,” she said softly, touching his arm, “using prominent people as supernumeraries in productions has gotten the opera lots of good press, which translates into ticket sales. You’ll be in good company. Last year, two spear-toting Supreme Court justices wore costumes in a production. You read about them in the Post. And the Secretary of State and his wife did, too, the season before. This time it’s professors from the area’s universities. Besides, it’s Tosca, Mac. Puccini. You’ll love it.”

“You know I’m not an opera fan,” he said.

“But you’ll become one. I guarantee it. Tosca is the perfect intro for you. It has all the elements of great drama—sex, betrayal, corruption, and murder—and gorgeous music.” She checked his expression. She almost had him. Time to go in for the kill. “Besides,” she said, “I’ve already committed you.” Before he could respond, she added, “It’s important to me, Mac. I’m new on the board and want to make what contributions I can as quickly as possible.”

He grinned. “And your first contribution is to sacrifice me?”

“You’ll do it?”

“Sure. Anything for a good cause.”

“The National Opera is a good cause,” she said.

“I was thinking of you, Annie. You’re the best cause I know.”

He got up from the table, kissed her on the cheek, and headed inside, saying over his shoulder, “I’m running late for a faculty meeting. Busy day.”

“Leave time for your fitting,” she said, following him.

He stopped, turned, and said, “Costume fitting? My loincloth?”

“Yes. And stop saying it’s a loincloth. It’s not.”

“When?”

“This afternoon. I told Harriet you’d be free after four.”

“Where?”

“Takoma Park, the company’s rehearsal facility. All the costumes are done there. Oh, and there’s a meeting of supers tonight at the Kennedy Center. Seven o’clock. I’ll go with you.”

He embraced her, kissed her again, this time meaningfully, picked up his briefcase, and stepped into the hall. She stood in the open doorway admiring his purposeful stride in the direction of the ele- vators. He was halfway there when he suddenly stopped, turned, pointed a finger at her, and said, “You owe me one, Annie.”

“Oh? When?”

“I’ll collect tonight. And it will be more than just a rehearsal.”

She giggled, and said just loud enough for him to hear but not the neighbors, “I love it when you talk dirty.”

TWO

Mac Smith sometimes thought that if he were president of the university, he would ban all faculty meetings. Occasionally, a meeting went smoothly, accomplished something, and consumed a minimal amount of time, but that was the twice-a-year exception rather than the rule. It all depended, of course, on who chaired the meeting. This day it was the new dean of the law school, a nice enough fellow with impressive credentials—and a tendency to posture. Had there been a fireplace in the room, Mac was certain that the dean would lean an elbow on the mantel and smoke a pipe, allowing for photographs, had smoking been allowed.

The meeting lasted forty-five minutes, thirty-one minutes longer than was necessary to cover the agenda. Mac was first out the door, closely followed by John Renwick, a teaching colleague who shared Mac’s abhorrence of wasted time. Renwick came into Mac’s office, tossed his briefcase on a small couch, and said, “Did anything useful come out of this, or did I miss something?”

Mac laughed as he opened the drapes that covered his only window and raised the blinds. “Scuzzy day out there,” he said. He turned to face Renwick. “We just learned from our new leader,” he said, “that someone on Capitol Hill, obviously of the right-wing variety, is considering convening a committee to investigate whether young attorneys being turned out by esteemed institutions like ours need a better grounding in old-fashioned legal principles; translation, more conservative ones. Our leader wants to be on the record as having heeded the call and explored with his faculty this alleged problem—which, of course, isn’t a problem. What’s new with you?”

“Not a lot. Lois wonders whether you and Annabel are free tonight for dinner, a last-minute thing. A college buddy of mine and his wife blew into town, also last-minute. Haven’t seen him in years. You’d enjoy him. He’s—”

“No can do,” Mac said, “but thanks anyway. Prior engagement. I’m being fitted for a loincloth.”

“What?”

“Annabel has ensnared me in this opera project cooked up by Public Affairs. I’m going to be an extra in Tosca.”

“I think that’s wonderful,” said Renwick, mirth in his voice. “You do have good legs.”

“I suggest you leave it right there, my friend.”

“I envy you,” Renwick said. “I love opera. You’ll be in heady company, Mac. Our leader is donning a loincloth, too, isn’t he?”

“So I hear.”

“Well,” said Renwick, retrieving his briefcase, “good luck. By the way, you won’t be an ‘extra’ in the cast. Extras in opera are called ‘supers’—supernumeraries—supernumerárius in Latin.”

“I know, but I prefer plain old ‘extra,’ for the same reason I refuse to play that pretentious game at Starbucks of calling a medium-size coffee a grande. I always ask for a medium coffee when I go there, which isn’t often. I make better coffee than they do and it doesn’t cost me the month’s mortgage.”

“We have to make our stands where we find them,” Renwick said, laughing and shaking his head. “I was a spear carrier in an opera while working my way through college. Aida. Loved it. Sorry you can’t make dinner. Another time. Give my best to Annabel.” He left the office, closing the door behind him.

Mac spent the next few hours fine-tuning a lecture on habeas corpus he would deliver that afternoon, taking a break from time to time to think about less solemn subjects, namely Annabel, dear sweet Annabel, who’d entered his life a year after having lost his wife and son and giving him a reason to live again. That she was a beautiful woman was beyond debate, hair the color of Titian copper, fair unblemished skin, and a figure that was at once sleek and voluptuous. He needed only to look at her in dark moments to feel his emotional tide rise. Wrapped in that package was a vigorous, surprisingly poetic mind (for a lawyer) that was seldom swayed by trivial or self-serving manipulations. That she’d readily agreed to make him her first and only husband awed him at times. Sometimes you do, indeed, get lucky.

Although they’d structured their married life to maximize time alone together, they were wise enough to know that too much togetherness could prove to be detrimental, and so they pursued the things they loved aside from each other, she her gallery and participation in a few selected arts institutions, he his tennis matches despite an increasingly bothersome knee, consulting commitments to an occasiona...

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Other Popular Editions of the Same Title

9780345478221: Murder at the Opera (Capital Crimes, No. 22)

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ISBN 10:  0345478223 ISBN 13:  9780345478221
Publisher: Ballantine Books, 2007
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9780345478214: Murder at the Opera: A Capital Crimes Novel

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9781594132162: Murder at the Opera (A Capital Crimes Novel)

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