* Notes *
The opening of Gabriela Lena Frank's El último sueño de Frida y Diego (Act I Scene 2 pictured, photograph by Cory Weaver) at San Francisco Opera last night was vivid and visually impressive. There was much great singing, especially from the chorus, and the colors of the orchestra were on full display.
This Spanish-language opera premiered at San Diego Opera in October 2022. It is two acts, each about an hour long, and takes place on El Día de los Muertos in 1957. The narrative follows Diego Rivera's summoning of Frida Kahlo from the dead during this liminal time of year. La Catrina, Keeper of the Dead in the Aztec underworld (Mictlān) convinces Kahlo to crossover to the living world. Frank's music features a lot of slippery, sliding chromaticism and percussion. I liked hearing the celeste. I was less keen on Nilo Cruz's libretto, there were many jokes about Rivera's physical appearance, his pot-belly and fear of becoming fat, which seemed so sad given that he's 70 years old in the opera and close to death. This did garner much laughter, perhaps serving to humanize the famous muralist. In addition to the three main characters, there is the young actor Leonardo, who is Kahlo's buddy in Mictlān and wants to return to the living world impersonating Greta Garbo to please a fan of the actress. The character is a bit random but endearing.
Frank handles the chorus well, the 40 choristers sounded cohesive and powerful. All the singing was very fine. Countertenor Jake Ingbar is charming as Leonardo, his bright voice cut through the orchestration without being harsh. Soprano Yaritza Véliz has a lovely otherworldly quality as La Catrina, bird-like and angelic. Baritone Alfredo Daza is an imposing Diego Rivera, his voice is very strong. Mezzo-soprano Daniela Mack impressed as Frida Kahlo, no small feat given how iconic the painter is. I've heard her many times in a variety of repertoire, but this role really shows off the depths of her voice.
The production, directed by Lorena Maza, is sumptuous with lots of rich details. Jorge Ballina's set makes splendid use of color, the saturated marigold orange in the underworld and intense cobalt blue of La Casa Azul were particularly striking. The scenes switched easily and artfully, whether it was altars of flowers suspended from the ceiling or platforms rolled in to create different spaces. I especially liked how a blank mural wall hid the chorus at the beginning of Act II and then revealed Rivera's Sueño de una Tarde Dominical en la Alameda Central (pictured, photograph by Cory Weaver). Of course, the recreations of Kahlo's paintings were also very beautifully done, Eloise Kazan's costumes certainly made that scene that occurs later in Act II work.
* Tattling *
It was great to see that the house was full for the prima of this opera. I situated myself in the middle of balcony standing room right behind two couples and had a great view of the stage where I could easily ignore the OperaVision screens.
There was a cell phone ring right before the music started which made the audience titter. There was a fair amount of light talking and lots of phone screens being checked for the time during Act II.