***RECOMMENDED*** If you are curious to find out what a mash-up of classical Greek mythology, Mexican folklore and liberal doses of surrealism and some sprinklings of early feminist empowerment might look like, you are in luck. Lyric Opera of Chicago is presenting the Midwest premiere of "El ultimo sueno de Frida y Diego," a work composed by Gabriela Lena Frank in 2022 with a highly poetic libretto written by Pulitzer Prize-winning playwright Nilo Cruz. Not only is this production visually striking -- one would certainly hope that that was the case in an opera which depicts the lives of two very famous artists/muralists -- but the score composed by Frank is exceptional, veering from the ethereal to downright enchanting. 3 SPOTLIGHTS
The Company of El último sueño de Frida y Diego. Photo by Cory Weaver
The premise is quite simple, as the title may suggest. Translated into English, "The Last Dream of Frida and Diego" is set in Mexico on November 2, 1957. As Dia de Muertos (Day of the Dead) rituals are enacted, Diego Rivera (baritone Alfredo Daza) visits a cemetery where the numerous villagers have gathered to honor their loved ones who have perished. He longs for his beloved wife and fellow artist, Frida Kahlo, who has been deceased for three years. Cursing fate, Diego summons the spirit of Frida to rise from the underworld so that they can spend a blissful, albeit brief, reunion of a mere 24 hours.
Alfredo Daza as Diego. Photo by Andrew Cioffi - Lyric Opera of Chicago
Daza originated the role of Diego at the San Diego Opera's world premiere, plus he has sung the role at the San Francisco Opera as well. All of that familiarity with this particular role allows Daza to fully dazzle here at Lyric. His Diego is sorrowful, contemplative, introspective but always dignified. His loneliness turns to sheer bliss when he is reunited with Frida, and it is in those quieter moments when his characterization reaches its fulfillment.
Daniela Mack as Frida. Photo by Andrew Cioffi - Lyric Opera of Chicago
The vivacious mezzo-soprano Daniela Mack makes for a perfect Frida Kahlo. Initially taciturn and slightly reticent, Mack's Frida spends most of the first act explaining that she is content living in the underworld, free from the physical pain that she endured during her lifetime due to an unfortunate trolley accident which occurred at a young age. Frida is reluctant to resurface because she also fears the emotional pain of seeing her Diego once again. While together, they did have a most tempestuous and volatile relationship, which has been highly documented. However, Act II finds Frida a much more joyful and tranquil woman. Mack plays her beautifully and she is a whirling bundle of energy.
Key'mon W. Murrah as Leonardo. Photo by Cory Weaver
Countertenor Key'mon Murrah is a comto the land of the living reincarnated as Greta Garbo and convinces Frida to join them. The Act I aria in which Leonardo transforms plete revelation as Leonardo, the spirit of a former actor and currently a companion of Frida's in the ghost kingdom. Leonardo longs to return Frida into the iconic image that we are familiar with is pure poetry, and Murrah deftly handles all of the role's subtleties.
Ana María Martínez as Catrina. Photo by Cory Weaver
For the second time in just as many months, Grammy Award-winning soprano Ana Maria Martinez effortlessly steals the show once again at Lyric Opera of Chicago. If you were fortunate to have seen her Despina in Mozart's "Cosi fan tutte" earlier this season, you have an idea of what you are in store for here. Martinez once again gets to be decked out in the production's flashiest costumes (same as in "Cosi") and she has such strong instincts as an actor that it's nearly impossible to take your eyes off of her any time that she is on the stage. Martinez sings the role of Catrina, Keeper of the Dead, and finds humor in the drollest of macabre moments. It's a physically and vocally challenging role, but Martinez brings it off with aplomb. Martinez imbues her Catrina with quirky movements and constant gestures as the character is always in motion. Under Martinez's skilled training, it all looks and feels 100% authentic.
The Company of El último sueño de Frida y Diego. Photo by Cory Weaver
In a work that glorifies art and the individuals who create it, it would be remiss not to mention the design team behind this production. Jorge Ballina has done a masterful job with the set design of "El ultimo sueno de Frida y Diego." Act I opens with a lavish stage adorned with what appears to be hundreds of ofrendas (altars) decorated with votive candles and marigolds. Once the 4-tiered set gets elevated, the true magic begins. Act II finds, in deep contrast to the lush atmosphere of its predecessor, a very stark set with only Diego's platformed easel and a blank wall awaiting his painterly technique. Victor Zaptero's lighting design features a warm and vibrant color palette throughout, but is highlighted by those hundreds of votive candles flickering at the top of the show. Eloise Kazan's costumes are wonderfully rendered, especially those that she has designed for the character of Catrina, as mentioned above.
Ana María Martínez as Catrina and the Company of El último sueño de Frida y Diego Photo by Cory Weaver
One recurring question that Cruz's libretto posits and which both Frida and Diego grapple with throughout is this: how can an artist truly depict (or paint) absence? That's one of the many wonders of this magical yet fleeting dream.
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"El ultimo sueno de Frida y Diego" continues through April 4, 2026
Lyric Opera of Chicago is located at 20 North Wacker Drive, Chicago, IL
Remaining performances are as follows:
Thursday, March 26 at 7:00 PM
Sunday, March 29 at 2:00 PM
Wednesday, April 1 at 2:00 PM
Saturday, April 4 at 2:00 PM
Tickets: Please visit www.lyricopera.org or call 312-827-5600
Running time is approximately 2 hours and 15 minutes with one intermission
The Company of El último sueño de Frida y Diego. Photo by Andrew Cioffi - Lyric Opera of Chicago