CAST

PRODUCTION TEAM

No one was more “All for Art” than the incredible Mexican surrealist painter Frida Kahlo, and her life story takes Steinmetz Hall by storm this January as Opera Orlando presents Robert Xavier Rodriguez’s operatic celebration of the artist in Frida. This poetic and beautiful retelling of Frida’s life reveals a woman of extreme magnetism and originality, an artist whose sensual vibrancy came straight from her experiences: her childhood during the Mexican Revolution; a devastating accident at age eighteen that left her crippled and unable to bear children; her tempestuous marriage to muralist Diego Rivera and intermittent love affairs; her association with the Communist Party; her absorption in Mexican folklore and culture; and her dramatic love of spectacle.

Robert Xavier Rodríguez’s score, written for chamber orchestra, mixes mariachi-style orchestrations, classical opera, and hints of Mexican folk songs for an authentic, alluring musical reflection of Frida all played masterfully from the pit by the Orlando Philharmonic Orchestra, conducted by Argentinian Maestro Jorge Parodi, who makes a return to the Company. Collaborating with Maestro Parodi in developing this all-new production will be stage director John de los Santos making his Company debut. Opera Orlando welcomes back Mexican-soprano Cecilia Violetta López to sing the iconic title role, and Venezuelan-baritone Bernardo Bermudez makes his Company debut as Frida’s formidable husband Diego Rivera.

Full of life, full of death, full of wonder, full of pain: Frida is an operatic ride of the most satisfying sort—a sweeping tale of a woman who fulfills her most passionate desire and remains true to herself. Hardly any woman of the 20th century is as unique as Frida Kahlo, and hardly any work captures Frida’s spirit as completely as this opera’s intricate and proud portrait of the iconic Mexican artist’s life. The cast also includes 2023-24 studio artists and members of the Opera Orlando Youth Company.

ACT I

SCENE 1: MEXICO CITY, 1923

An unruly male gang called Cachuchas, led by the young Frida Kahlo and her boyfriend Alejandro, accosts a group of schoolgirls. Frida and her sister Cristina watch a mother whose child has died beg a vendor for a mat to bury her son. Moved by the poverty they see, Frida and Cristina witness a celebration of the Zapatista Army of National Liberation and take heart in the promise of the revolution.

SCENE 2: FRIDA’S ROOM IN COYOACAN, 1925

Experiencing her first menstruation, Frida tells Cristina of her expectations of life upon coming of age.

SCENE 3: A STREET & FRIDA’S ROOM, 1925

Frida and Alejandro board a bus headed for school, which is then struck by a tram. In the accident, Frida is severely injured, but she resolves to live and begin her life as a painter.

SCENE 4: MEXICO CITY, 1928–29

As Diego Rivera paints a mural at the preparatory school, his wife Lupe attempts to grab his attention. Frida pays Diego a visit and introduces herself to him. Lupe becomes jealous of the young visitor. Frida shows Diego her portfolio and he encourages her to pursue a career as an artist and begins to court her. Diego asks Frida’s father for her hand in marriage. At the wedding ceremony, Lupe makes a dramatic and futile attempt to win Diego back.

SCENE 5: DIEGO’S STUDIO, 1930–31

Frida critiques Diego’s work as he paints a portrait of Emiliano Zapata. They are interrupted by revolutionary communists who denounce Diego. Frida and Diego resolve to try their luck in the USA.

SCENE 6: NEW YORK CITY, 1931–33

Frida and Diego attend a dinner party hosted by the Fords and the Rockefellers. Diego enjoys the adulation while Frida ridicules the rich. Rockefeller commissions a mural from Diego, and Frida gives a spirited interview to the press.

SCENE 7: NEW YORK CITY, 1933–34

Diego works on his commission, “Man at the Crossroads.” Rockefeller berates Diego for displaying his communist sympathies by portraying Lenin in the painting. The mural is destroyed, and Frida miscarries. She persuades Diego to return to Mexico.

– INTERMISSION – 

ACT II

SCENE 1: SAN ANGEL, MEXICO, 1934–35

Back in Mexico, Frida and Diego move to adjacent blue and pink homes. She is overjoyed at being back in their homeland while he is miserable. Frida chooses to ignore the parade of lovers that go through Diego’s house, but she is horrified to discover her sister Cristina among them.

SCENE 2: SAN ANGEL, MEXICO, 1937

Leon Trotsky and his wife Natalia visit the Riveras in Mexico. Diego and Natalia confront Frida and Trotsky over their undeniable mutual affection. Cristina expresses regret for betraying Frida. Diego and Frida come to the realization that their differences cannot be reconciled.

SCENE 3: FRIDA’S BATH

Frida retreats to the seclusion of her home and takes comfort in male and female lovers.

SCENE 4: NEW YORK ART GALLERY, 1938

Diego resolves to promote Frida’s work in the USA and meets American actor Edward G. Robinson who purchases several of Frida’s paintings. Diego urges Frida to pursue his own career without him.

Frida takes photographer Nicholas Murray as her lover. Frida and Diego decide to divorce.

SCENE 5: FRIDA’S IMAGINATION

Haunted by physical and emotional pain, Frida continues to paint while imagery from her seminal works The Broken Column, The Wounded Deer, and Self-Portrait with Monkey come alive in her mind.

SCENE 6: HOSPITAL ROOM, LAST DAY OF FRIDA’S LIFE, 1954

In a delirium, Frida relives episodes of her life, including the assassination of Trotsky, of which she and Diego were accused. Diego returns and sings to entertain Frida, finishing with a proposal to marry her again. Frida agrees and a joyful celebration ensues as she departs life with a cry of “Viva la vida, alegria, and Diego!” 

(“Long live life, joy, and Diego!”)

FRIDA KAHLO PAINTINGS