El último sueño de Frida y Diego premiered at the Lyric Opera last weekend, and it was one of the most thrilling operas I have seen. The music was written by Gabriela Lena Frank, with a fantastic libretto by Cuban-American playwright Nilo Cruz. Their collaboration brought to life the story of two artists who are legendary for making art their lives, and in the case of El último sueño de Frida y Diego, their deaths as well.
Director Lorena Maza makes a noteworthy Lyric debut, with subtle pacing and a keen sense of surprise. This was a production with stunning visuals. The placement and movement of the actors were important to having a balanced production. Maza brings veteran expertise in theater, having served as the director of three major Mexican theater venues, producing 40 plays annually. El último sueño de Frida y Diego adds another sparkling achievement
Conductor Roberto Kalb also made a brilliant Lyric debut, keeping the dramatic music in a perfect mix with the performers. There was even a celeste/celesta in the orchestra to enhance the mysterious vibe. This instrument is used in Mexican orchestral music to add a layer of mystery and tension. Kalb comes with a resume of Wagner, Verdi, Puccini, and more. Frank's music and Cruz's libretto were done perfectly. Good balance, rich sound, and a cool, mysterious vibe.
This story takes place on Dia de los Muertos/Day of the Dead, when a liminal existence is possible. The living can request to see their loved ones who have crossed into a new life. Ofrendas (altars) are dedicated to family, and sometimes there is a party at the gravesite, with offerings to loved ones.
Soprano Daniela Mack is superb in the role of Frida. She was in The Listeners in the 2024/25 season at Lyric, which I called cutting-edge. El último sueño de Frida y Diego is also what I would call ahead of the curve with Latino people telling, singing, and designing their own stories. Mack has a rich-sounding soprano that holds its own with the dramatic music and dissonant harmonies. Her acting is on point. Frida does not want to return to the earth for even one day. She does not want to relive the trauma and pain. She sings, "In life I had two major accidents: the impact of a trolley and meeting Diego Rivera. The world was torture...the pain...Agony!" This phrase got a laugh of recognition from some of the audience, including myself. Starting April 1, Stephanie Sánchez will play Kahlo. She was also in The Listeners.
Baritone Alfredo Daza makes his Lyric debut as muralist Diego Rivera, and he makes quite an impression. His voice is resonant and bold, and he makes the comments about Rivera's fat belly funny. Daza portrays Rivera as an imposing figure on stage, while Mack's Frida is diminutive and physically frail. They make a compelling, magnetic duo, as the artists were in their earthly lives.
Soprano Ana María Martínez plays the terrifying Catrina, who rules the selection of who can return to the living for 24 hours. There was a collective gasp when she revealed herself as a bronzed Calavera with a crown of tiny skulls and a dress adorned with skeletal body parts. Martinez is one of my all-time favorite sopranos, who brings a tremendous voice and glorious stage presence to every role I have seen her in. Most recently, she played Despina, the troublemaking maid in Così Fan Tutte, and also Dona Elvira in my favorite Don Giovanni. Cavalera Catrina is now my favorite role for Martinez. Having her in any role elevates a production. Brava!
Three Ryan Center singers from Sunday in the Park With Lyric appeared in a tableau as three Frida Kahlos from her self-portraits. Soprano Adia Evans, mezzosopranos Alexis Peart and Camille Robles are a stunning triumvirate, both vocally and visually. Peart was in this season's Madama Butterfly as Kate Pinkerton. Evans was another Listeners alum, and Robles was a smashing "bad girl" in Cavalleria rusticana and La Boheme.
Three more Ryan Center singers played the villagers in the opening scene of El último sueño de Frida y Diego. Baritone Finn Sagal was in The Listeners, tenor Daniel Luis Espinal was in Salome, as was bass-baritone Benjamin Sokol. The trio was in great voice and had some good comic moments as they dared each other to approach Diego Rivera. Their skills in a bit of slapstick and spicy language, one word—"pinche"— got some good laughs. To be clear, it wasn't raunchy spice. Pinche is an enhancing adjective for many situations.
The sets, costumes, and lighting are jaw-dropping. When the curtain rises, revealing a cemetery on Dia de los Muertos, I got a chill of recognition and reverence. Many cultures have ceremonies to celebrate their deceased loved ones. In my family's neck of the woods in Louisiana, personal items are placed on the graves on Memorial Day. A favorite teacup. a statuette, and a lot of cameo photos on the headstones, some taken post-mortem. In Mexico, orange marigolds are flores de muertos, and a part of almost every ofrenda.
Set designer Jorge Ballina creates a layered cemetery with sparkling candles and ofrendas. The set rises to show the other world where the deceased reside. It was another gasp moment for me. Ballina is from Mexico City and brings an authenticity to the design and engineering of sets. His resume of theater and opera is vast and impressive. The tableau of Kahlo's various works is in Casa Azul Blue.
El último sueño de Frida y Diego, runs two hours and 15 minutes, including intermission, through April 4. The Lyric is located at 20 North Wacker Drive. For more information, please visit lyricopera.org.
For more information on this and other productions, see theatreinchicago.com.
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