Displaying items by tag: Ana Maria Martinez

Lyric Opera of Chicago presents Gabriela Lena Frank and Nilo Cruz’s El último sueño de Frida y Diego (The Last Dream of Frida and Diego), on stage March 21 – April 4, 2026. This new opera poses an impossible question: How would you spend a single day reunited with lost love? On the Day of the Dead, three years after her death, Mexican artist Frida Kahlo crosses over from the underworld for 24 fleeting hours with husband and artist Diego Rivera. What unfolds is a dreamlike journey through memory, passion, and everything they created together — both on canvas and in life.

Following its critically praised 2022 world premiere in San Diego, this opera, steeped in magical realism, arrives as the second full-length Spanish-language opera presented by Lyric, following Daniel Catán and Marcela Fuentes-Berain’s Florencia en el Amazonas in the 2021/22 Season. With vivid colors, music inspired by Mexican folk traditions, and staging that transforms the Lyric Opera House into a portal between worlds, this production brings Frida Kahlo’s artistic vision to theatrical life. Mezzo-soprano Daniela Mack stars as Frida in her return to Lyric, joined by baritone Alfredo Daza in his Lyric debut as Diego, soprano Ana María Martínez as Catrina, and countertenor Key’mon W. Murrah in his Lyric debut as Leonardo. Director Lorena Maza and conductor Roberto Kalb, both in their Lyric debuts, lead a creative team that honors the Mexican culture and artistry at the opera’s heart.

A love story that transcends death. El último sueño de Frida y Diego unfolds in 1957, three years after Frida Kahlo’s death. Diego Rivera, aging and consumed by grief, longs for one final moment with Frida. In Mictlán, the Aztec underworld, Frida has found peace, free from the physical pain and heartbreak that defined her earthly life. But Catrina, Keeper of the Dead, insists she must accompany Diego as he nears the end of his life, while Leonardo, the spirit of a young actor, urges her to return — not just for Diego, but for herself and her art.

Frida agrees to return for 24 hours with one unbreakable rule: she cannot touch the living. Her reunion with Diego unfolds in magical realism as the two artists wander through Alameda Park and Casa Azul, rediscovering joy and trying to heal old wounds, both physical and emotional. When Frida breaks the rule and touches Diego, the memories of pain and trauma come flooding back. Yet even in suffering, she finds clarity: Art is the only way to outlive death.

Authors who capture the soul of the story. The creative partnership between composer Gabriela Lena Frank and librettist Nilo Cruz brings extraordinary credentials and deep cultural understanding to El último sueño de Frida y Diego. Their opera functions as both an intimate character study and a vibrant celebration of Mexican artistic heritage while speaking to universal themes of love, loss, and artistic legacy.

Grammy Award-winning composer Gabriela Lena Frank, recently named Musical America’s 2026 Composer of the Year, is one of America’s most celebrated living composers, known for music that explores her multicultural heritage — Peruvian, Chinese, Lithuanian, and Jewish — with particular focus on Latin American musical traditions. Born with high-moderate/near-profound hearing loss, Frank has become a powerful voice for disability representation in classical music, demonstrating that composers can create extraordinary work through different ways of experiencing sound. Frank has received numerous honors including the Latin Grammy Award for Best Contemporary Classical Composition; the 2020 Heinz Award recognizing her for breaking gender, disability, and cultural barriers in classical music; a Guggenheim Fellowship; and commissions from major orchestras and opera companies worldwide. Her music weaves together orchestral colors with rhythms and melodies inspired by Mexican folk music, capturing the surrealist beauty of Frida’s visual art while honoring the emotional depth of her lived experience.

Pulitzer Prize-winning playwright Nilo Cruz created the libretto, bringing his gift for poetic, emotionally resonant language to Frida and Diego’s story. His Spanish text moves fluidly between the real and the imagined, the painful and the joyful, giving voice to Frida’s fierce independence, her artistic vision, and her complex relationship with Diego — a love marked by both deep devotion and profound betrayal. In 2003, Cruz became the first Latino to win the Pulitzer Prize for Drama for his play Anna in the Tropics. His work is known for its lyrical beauty, its exploration of Latin American and Cuban-American experience, and its ability to find magic in everyday moments. Cruz previously collaborated with Lyric and composer Jimmy López in the 2015/16 Season for the world premiere of Bel Canto, based on the Ann Patchett novel.

A singing actress who embodies Frida’s fire and fragility. Mezzo-soprano Daniela Mack returns to Lyric to star as Frida Kahlo, bringing to the role her acclaimed artistry and commanding stage presence. Mack recently appeared at Lyric as Angela in Missy Mazzoli and Royce Vavrek’s The Listeners in the 2024/25 Season, earning praise for her dramatic intensity and vocal beauty. Her international career includes performances at the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, and major European houses. Known for her ability to inhabit complex, unconventional characters, Mack possesses both the rich, warm timbre ideal for Frank’s melodic writing and the dramatic fire needed to capture Frida’s indomitable spirit. Stephanie Sanchez sings the role of Frida on Wednesday, April 1.

A cast that brings passion and artistry to every role. Colombian baritone Alfredo Daza makes his Lyric debut as Diego Rivera, the legendary muralist whose tumultuous marriage to Frida forms the opera’s emotional core. Daza has performed at major opera houses throughout Latin America, Europe, and the United States, earning particular acclaim for his portrayals of complex, larger-than-life characters. His rich baritone and powerful stage presence make him ideal for Diego, whose outsized personality and artistic genius were matched only by his capacity for passionate and perilous living.

Puerto Rican soprano Ana María Martínez, on stage at Lyric this winter as Despina in Mozart’s Così fan tutte, sings the role of Catrina, the skeletal Keeper of the Dead who bridges the worlds of the living and the departed. Martínez last appeared at Lyric in the title role of Florencia en el Amazonas in the 2021/22 Season. Her luminous soprano and elegant stage presence have made her one of the leading interpreters of Latin American opera, with performances at the Metropolitan Opera, LA Opera, and internationally. As Catrina, Martínez brings both authority and compassion to this figure drawn from Mexican Day of the Dead traditions.

Rising-star countertenor Key’mon W. Murrah makes his Lyric debut as Leonardo, the spirit who encourages Frida to return to the living world. Winner of Washington National Opera’s Marian Anderson Award in 2024, Murrah’s burgeoning career includes performances at major American opera companies, where his distinctive countertenor voice and natural charisma have earned critical praise. His portrayal of Leonardo provides a crucial voice urging Frida toward life and art, even as she resists.

The production also features Ensemble members from Lyric’s acclaimed artist-development program, The Patrick G. and Shirley W. Ryan Opera Center, including tenor Finn Sagal as 1st Villager, tenor Daniel Luis Espinal as 2nd Villager & A Young Man, bass-baritone Benjamin R. Sokol as 3rd Villager, soprano Adia Evans as 1st Frida Image, mezzo-soprano Alexis Peart as 2nd Frida Image, and mezzo-soprano Camille Robles as 3rd Frida Image. Mezzo-soprano Corinne Wallace-Crane sings the role of Guadalupe Ponti.

A conductor who honors the music’s cultural roots. Mexican-born conductor Roberto Kalb makes his Lyric debut leading El último sueño de Frida y Diego, bringing a deep understanding of both Latin American musical traditions and contemporary opera. He conducted the opera's world premiere at San Diego Opera and subsequent performances at San Francisco Opera. Music Director of Detroit Opera since 2022, Kalb has built an international career conducting orchestras and opera companies throughout the Americas and Europe. He has particular expertise in contemporary repertoire and works that incorporate folk music traditions into classical forms. His leadership ensures that Frank’s score receives performances that honor both its Mexican folk inspirations and its sophisticated orchestral writing. Under Kalb’s baton, the Lyric Opera Orchestra becomes an essential character in the storytelling, painting Frida’s emotional journey through sound. Chorus Director Michael Black leads the 44 members of the Lyric Opera Chorus.

A director who brings Frida’s visual world to life. Director Lorena Maza makes her Lyric debut with El último sueño de Frida y Diego, bringing her distinctive theatrical vision to this production. A native of Mexico, Maza brings cultural authenticity and deep understanding of the artistic traditions that shaped both Frida and Diego’s work. Her direction emphasizes the opera’s magical realism, creating a production where the boundaries between life and death, memory and reality, past and present, all dissolve into dreamlike theatrical poetry. Maza’s staging honors the surrealist touches that made Frida’s paintings so distinctive while ensuring the emotional truth of the story remains central.

A production that dazzles the eye. The creative team includes set designer Jorge Ballina in his Lyric debut, whose designs evoke both the vivid colors of Frida’s paintings and the liminal space between worlds; costume designer Eloise Kazan in her Lyric debut, whose creations honor Mexican traditional dress and incorporate surrealist elements; lighting designer Victor Zapatero in his Lyric debut; and choreographer August Tye, a longtime Lyric collaborator who has participated in more than three dozen productions. Together, they create a visual experience as rapturous as Frida’s own canvases — a production where endlessly blooming marigolds, skeletal Catrinas, and the jewel-toned walls of Casa Azul transport audiences into Frida’s artistic vision.

When art becomes the bridge between worlds. Beyond its story of love and loss, El último sueño de Frida y Diego is a celebration of Mexican culture and the Day of the Dead traditions that honor the continuing connection between the living and those who have passed. Like the candlelit ofrendas offered on Día de Muertos, this opera doesn’t simply portray two artists’ fantastical reunion but honors the rituals of remembrance that keep memory and love alive. Frank’s sweeping music and Cruz’s poetic libretto create an operatic experience as emotionally rich as the lives that inspired it — a work that affirms art’s power to transcend death and keep our most important connections alive forever.

Performance Dates: Six chances to see El último sueño de Frida y Diego:

• Saturday, March 21, 2026 at 7:30 p.m.
• Tuesday, March 24, 2026 at 7 p.m.
• Thursday, March 26, 2026 at 7 p.m.
• Sunday, March 29, 2026 at 2 p.m.
• Wednesday, April 1, 2026 at 2 p.m.
• Saturday, April 4, 2026 at 2 p.m.

Language: Sung in Spanish, with easy-to-follow projected English titles above the stage.

Running time: Approximately 2 hours and 15 minutes, including one intermission.

Pre-performance talks: Ticketholders are invited to a free pre-opera talk on El último sueño de Frida y Diego's composition history and cultural context; the talks begin one hour before each performance in the theater’s Steiner Parquet (the main floor).

Accessibility: Audio description, a guided touch tour of the set, and SoundShirts are available at the Sunday, March 29 matinee performance. Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the theater’s Steiner Parquet coat checks at all performances. For more information on these and other accessibility assets, visit lyricopera.org/accessibility.

Production history: A co-production of San Diego Opera (world premiere, 2022) and San Francisco Opera.

Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, Illinois.

For more information and tickets, visit lyricopera.org/frida or call 312.827.5600.

COSI FAN TUTTE translates loosely as ‘Thus Do They All’, referring to the inconstancy – fickleness, even infidelity – of women. ALL women. The opera, composed by Mozart with libretto by Lorenzo Da Ponte, begins with two infatuated men, Ferrando (Anthony Leon) and Guglielmo (Ian Rucker) extolling the virtues of their fiancées Fiordiligi and Dorabella.  Don Alfonso (Rod Gilfry), a self-appointed sage / philosopher, jeers that there is no such thing as a faithful woman and wagers he can prove their perfidy within 24 hours. Ferrando and Guglielmo take the flutter and agree that each will try, in disguise, to seduce the other’s gal. Tough duty, yeah?

Jacquelyn Stucker and Cecelia Molinari are brilliant as sisters Fiordiligi and Dorabella (respectively), with peerless voices and superb acting, including spirited physical comedy. Their performances are matched by Ana Maria Martinez as Despina, the sisters’ puckish maid. Don Alfonso recognizes Despina as a ready collaborator and together they seek to lead Fiordiligi and Dorabella into temptation.

The sisters remain aggravatingly faithful, even when Ferrando and Guglielmo are (seemingly) called into military service and reappear (in disguise) as tempting lady-killers. At the close of Act One the women still stand firm against the wiles of the plotters. I’ll leave to your imagination the further convolutions of the six participants in this 1930’s rom-com battle of the sexes. Hilarity and dazzling arias, frothy costumes and splashy sets, all overlying a hotbed of distrust and deception combine to generate something rather like a skanky reality show.

 The production is marvelous – it can hardly be otherwise with Enrique Mazzola conducting, Michael Cavanagh and Roy Rallo directing (with Katrina Bachus’ Assistance) and Constance Hoffman designing costumes. Erhard Rom designed the set and projections, enhanced by Lighting Designers Jane Cos and Chris Maravich, all drawing us inescapably into Fiordiligi and Dorabella’s world. The libretto was sung in Italian; Christopher Bergen projected English translations. My difficulty reading these resided wholly in my eyes (I simply must see an optometrist!). Wig and Makeup Designer John Metzner was responsible for the various mustaches that ultimately adorned the entire cast. Michael Black directed the chorus, and Francesco Millioto conducted the stage band, all drawn together by Stage Manager Alaina Bartkowiak.

Jacquelyn Stucker (Fiordiligi) purports that the frank silliness of COSI FAN TUTTE creates a lens to study the silliness of the strict gender norms of the 1930’s.

Anthony León Ian Rucker and the Company of Cosi fan tutte.

I found Act 1 of COSI FAN TUCCE a delight; in it Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century (as in Shakespeare's Cymbeline). At the intermission I was still mystified as to what 19^th and early 20^th century audiences considered offensive and immoral, but in Act 2 I found myself moving closer to their perspective. From the beginning I, of course, denounced the central tenet: ‘cosi fan tutte’ or ‘all women are like that’, but I found Da Ponte’s cynical libretto effectually counterbalanced by the beauty and emotional resonance of Mozart’s music. In Dorabella’s aria “Smanie implacabili"—"Torments implacable" she bemoans her lover’s absence. This sets the stage for Ana Maria Martinez to establish the maid Despina as pivotal to the comedic theme. The aria "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you expect faithfulness?", was an exhibition of Martinez’ magnificent soprano voice. Act 1 continues with Fiordiligi’s aria "Come scoglio"—"Like a rock"; Guglielmo bragging of his manly attributes with "Non siate ritrosi"—"Don't be shy"; and Ferrando praising his love: "Un'aura amorosa"—"A loving breath".

I have to interject here that I’ve not previously been a devotee of opera – soaring sopranos and booming baritones were wasted on me. However, in reviewing for Buzz Center Stage I’ve come to appreciate the operatic artform and am becoming a true dilettante. So, if you, like me, despise opera, your evaluation may be revised by a suitable overture like COSI FAN TUTTE; though I indeed found it problematic, that very characteristic served to fructify the discussion my companion and I enjoyed during the ride home. Check it out! You never know.

Act 2 helped me understand the antipathy earlier audiences felt for COSI FAN TUTTE. I didn’t find it risqué, vulgar, or immoral [admittedly I personally set these bars pretty high]. I don’t believe I’m introducing spoilers when I say that I found the ending simply wrong. A more believable conclusion [to me] would have Ferrando and Guglielmo running off with each other. I wonder what the reaction would have been to that at its 1790 Viennese premiere.

Additional considerations: this is a long opera – with the 30-minDon’t skip lunch! Or you’ll be stuck with the various flavors of sugar and salt offered at the concession stands at ridiculous prices.ute intermission it runs a full 3½ hours. Think of Return of the King, but with a much-appreciated break to pee. Don’t skip lunch! Make time for lunch/dinner - you’ll feel so much better than if you end up relying on the concession stand’s pricey sugar‑and‑salt options.

COSI FAN TUTTE runs at the Lyric Opera House ONLY until February 15!!

It’s interesting to view the world through the lens of an early 20th century Italian opera composer. When “Madama Butterfly” by Puccini premiered in Milan in 1904 it was met with abysmal reviews. Audiences clamored that he had recycled music from his previous hit “La Boheme” which seems like the least of this opera’s problematic themes by today’s standards. After some quick revisions, “Madama Butterfly” emerged as one of the most recognizable operas in the world. Lyric Opera kicks off 2020 with a thrilling revival. 

“Madama Butterfly” is itself an adaptation of an 1898 short story by John Luther Long. Puccini worked with librettist Luigi Illica to bring this tragic semi-true story to the stage. The beloved opera has since been adapted many times since, mostly notably as “Miss Saigon”.  Puccini’s opera tells the story of a teenage girl who marries an American naval officer on a tour of duty in Japan. To him it’s a fake marriage so that he may sleep with her. To her, it’s true love. Predictably, the naval officer Pinkerton (Brandon Jovanovich) abandons her and she is left with a naïve hope that he will return to her. Despite other offers of marriage, Butterfly clings to the fantasy of Pinkerton while her maid Suzuki (Deborah Nansteel) shields her from a bitter reality. 

The opera was originally written in two acts, but audiences were left confused and disappointed. Puccini split the second act in two and inserted a hauntingly beautiful entr’act. Is this the best Puccini opera? Probably not. Where it excels at drama, it somewhat falters in the catchy melodies traditionally expected of Puccini. Afterall, it is Puccini whom we have to thank for influencing some of the best modern musical theatre composers like Andrew Lloyd Webber and Boublil/Schonberg. 

Lyric’s gorgeous revival directed by Louisa Muller seems understated. A subdued orchestra puts the spotlight on the cast, who more than delivers. Lyric stage favorite Ana Maria Martinez and Deborah Nansteel give two powerhouse performances. Martinez has a sung the role many times in her storied career and Lyric’s current production should be considered a real treat. 

Puccini and Illica’s perception are that Americans take what “fortunes” they want around the world with little regard to those they hurt. Puccini even goes so far as to sample the American national anthem many times throughout the opera. It’s deployed at such opportune moments that it would be impossible to read as flattery. Though, Puccini’s problematic orientalism in many of his operas often makes patrons bristle at unintentional stereotyping of Asian culture. While some of the themes of “Madama Butterfly” make modern audiences uncomfortable, what can’t be denied is that Puccini gave us some of the most accessible and entertaining operas ever composed. “Madama Butterfly” despite its flaws achieves what good theatre should. It grabs us by the heartstrings with an enchanting score and a compelling script. 

Through March 8th at Lyric Opera Chicago. 20 N Upper Wacker Drive. (312) 827-5600

“No woman ever died for love” says Despina in Mozart’s charming little opera ‘Cosi fan tutte’. There may not be any deaths from love but, maybe a few tickled funny bones in this revival going on now at the Lyric Opera of Chicago. Originally conceived by John Cox about ten years ago, this version of ‘Cosi fan tutte’ moves the setting to WWI, or 1914. This seasons’ production is largely the same with direction by Bruno Ravella.

‘Cosi fan tutte’ is a lighter work by opera standards. It’s basically a rom-com sung in Italian. Written in 1790, Mozart would only see this opera performed five times in his life, as he died the following year. Mozart operas are typically upbeat with plenty of repeated phrasing. There’s no shortage of beauty pouring out of the pit conducted by James Gaffigan. This is a very accessible piece in both music and performances.

The plot is fairly uncomplicated. Two men Ferrando (Andrew Stenson) and Guglielmo (Joshua Hopkins) question the fidelity of their fiances Fiordiligi (Ana Maria Martinez) and Dorabella (Marianne Crebassa). With the help of Don Alfonso (Alessandro Corbelli) and sexy maid Despina (Elena Tsallagova), the two men pretend to go off to war. They return to their future wives in disguise and each attempts to seduce the other’s fiancé. If it sounds familiar, it is. This opera is loosely inspired by Shakespeare’s ‘Twelfth Night’.

Few people attend an opera for the dramatic chops of the performers. Opera is about beautiful music first and foremost. That said, these two fantastic sopranos are also gifted comedic actresses. The over-the-top emotions of these two characters makes for some really great physical humor. The projected dialogue is almost as ridiculous as the plot itself. Martinez takes up the pious role, making her seduction all the more fun to watch. Crebassa is the goofball and her performance radiates joy even as she’s cheating on her fiance. Though, it’s really Tsallagova who runs away with the laughs in her performance as Despina. This is also her US debut. A talent we’ll hopefully see more of in coming seasons.

As always, the set and costumes are sumptuous. Setting this piece in 1914 gives costume and set designer Robert Perdziola a lot to work with. It’s not terribly often you seen somewhat modern fashion at the Lyric. There are some lovely flapper-flavored looks going on. Nothing quite compares to the second act opening though. A background of venetian boats adorned with twinkling lights opens up to reveal the imposter suitors sailing in to claim their respective victories. The visual against the lovely Mozart music is one of the most arresting moments of the evening.

‘Cosi fan tutte’ is not an opera you’ll find on any before-you-die lists, but it’s an opera worth seeing. While it’s not the shortest show of Lyric’s season, clocking in at just under four hours, it’s definitely the easiest to get into. The music is for everyone, and will leave you feeling warm and tingly.

Through March 16th at Lyric Opera of Chicago. 20 N Wacker Drive. 312-827-5600