Opera in Two Acts
Book by Hilary Blecher; Lyrics and Monologues by Migdalia Cruz
Duration: Full Evening
Cast: Mz, Bar, S, A, T, B,
3 Calaveras (death figures - character voices), SATB chorus ad lib.
cl/(asx)/tpt (flugel).tbn/perc/acn.gtr.pf/vn.va.vc.db or cl(asx)/tpt(flugel)/perc/can.pf/vn
Spanish translation by Josefina García available
Piano reduction available of full opera and Concert Suite from Frida
(Mz + above instrumentation)
Commissioned by the American Music Theater Festival (now Prince Theater)
Recording of Concert Suite from Frida: CRI CD 824,
Angelina Réaux, Voices of Change
Reviews of American Productions:
Schneider as Frida
Photo: Erich Schleyer
American Music Theater Festival
The Best Opera/Musical Theater of 1991 ...a fascinating, magically engrossing evening ...The music is subtle and atmospheric ...genuinely original and genuinely accessible, a neat combination not that often achieved.
John Rockwell, New York Times
...an exciting, long overdue musical biography ...raw, wonderfully dangerous theater.
...high drama ...conveys the radiance and explosive fury of the woman whose art was, in the words of André Breton, “a ribbon around a bomb.”
‘FRIDA’: A fierce portrait of Kahlo...intense and impassioned ...a bio drama/performance piece/puppet show/monologue carried off as an operatic danse macabre ...relentless ...searing ...harrowing ... richly imaginative ...Frida’s remarkable.
Kevin Kelley, The Boston Globe
...thrilling score by Robert Xavier Rodríguez ...
Jeremy Kingston, The London Times
Rodríguez opera Frida a triumphant experience
Mexican painter Frida Kahlo created some of the most disturbing, soul-baring images of our century ...brilliantly translated to the stage ...Music theater’s power to plumb a complex character, tell a great story and evoke a time and place has triumphed in Houston Grand Opera’s production of Frida ...The story is told swiftly and efficiently, often with deft humor, always with a clear focus on the inner life of the title character ...Frida is at once fragile and strong, high-minded and sensual, deeply serious and devastatingly funny. Nearly alone among operatic heroines, Frida is granted a complete personality, including a fully nuanced and frank sexuality. Rodríguez’s music helps mightily to create a character that we care about and whose pain we must share. Just as Rodríguez’s earlier operas appropriated European Renaissance and medieval styles or quotations into his own modernist and coloristic tapestry, his score for Frida draws heavily on the folk and popular-romantic idioms of Mexico ...magnificently effective ...gorgeous ...sumptuous ...beautifully constructed ...powerful ...wistful, sensuously serpentine ...and he finds plenty of outlets for his pungent wit ...great musical theater.
Mike Greenberg, San Antonio Express-News
Reviews of European Productions:
Formidable [European] premiere of the musical Frida at the Vienna Schauspielhaus
The American composer, Robert X. Rodríguez has made a musical of Frida Kahlo’s life and suffering, in fact a sensationally good one... extraordinarily evocative and wide-ranging worlds in sound... Boisterous Fiesta-Mexicana-strumming alternates with a brandy-soaked ballroom atmosphere; drama alternates with intimacy, poetry with bombast. It is all here and wonderful... Enormously charismatic, varied, full of nuance... one of the best things to have been seen on any Viennese stage in recent years... beautiful, poetic... Five stars deluxe.
Stefan Ender, Der Standard
A Fiesta for Frida
...This is the stuff of which legends are made...
R. Wagner, Neuen Volksblatt
In a Mexican way
...like a mariachi group for which one has mixed mescaline in the tequila, tradition and distortion meld into a harmonic connection...
Michael Krassnitzer, Die Neue Furche
...Rich musical material... colorful gestures... portray Frida’s psychologically varied states... folkloric roots find a harmonious coexistence with Broadway. Occupying its own Utopian space, the music plays both to the ear as well as the soul...
Christine Dobretsberger, Wiener Zeitung
Praise for the chamber opera
Robert Rodríguez wrote an opera about the painter Frida Kahlo with impressive music and drew from Copland and Bernstein, from musicals, from Kurt Weill, from international [style] as well as Mexican folklore... It shows yet again that if someone is seriously interested in chamber operas, a repertory exists today that reaches far beyond baroque and rococo opera...Exotic flair... humor... Thank you, Señor compositor, for the beautiful music.
Derek Weber, Salzburger Nachrichten
The music clearly represents an unconventional life that couldn’t have been lived more emotionally, passionately and eccentrically.
... elegant music...
The musicians brought the Mexican fiesta as well as the jazzy party atmosphere of New York to life... The reality [of Frida Kahlo’s life] formed by pain, ambition and love is created on the stage with wit and fantasy...
...conveys sweetness without sentimentality
...the musical sounds comment beautifully on the action
Reviews of Mexico Production (100th Anniversary of Frida Kahlo’s Birth)
Photos from Festival de Mayo (Guadalajara).
Left: Frida and Calaveras; Right: Full Company (Finale).
The Best Homage to Frida
...In Rodríguez's work is a richness that goes beyond adjectives…Some rejected the title "opera" to brand it as a Broadway musical…Others compared it to a Mozart singspiel...What is important is that there was not a single individual that didn't applaud Rodríguez's seductive and refined language...There are few composers with the intelligence and sense of humor to fuse new and traditional sonorities with unusual rhythms and melodies. Very few… I don't know what I enjoyed the most: the plasticity of the images,…the languid sensuality of the interludes in which piano, accordion and percussion made the atmosphere vibrate, the clever way in which her accident "...in the year 25 . . ." was recreated in corrido rhythm… or the moving final aria that made us shed tears…
Lázaro Azar, La Reforma
¡Viva la vida!
Sensational! Impacting! Magnificent! These are some of the enthusiastic words uttered by the public who attended the performance of the opera Frida last Friday at the Teatro Degollado. My mind is still full of the images and sounds of this work, which has had many successful performances in the United States and Germany since its creation in 1991. The opera is vibrant with life, expressing Frida's motto "¡Viva la vida!" Those of us who attended were privileged to see it. And who was most responsible for this work's impact?... The most important person here was the composer, Robert Rodríguez, who achieved a felicitous fusion of spoken dialogue, popular music and complex operatic music full of lyricism and passion…
Charles Nath, El Informador
The Joys and Sufferings of Frida Kahlo
…The story is told smoothly and efficiently, often with subtle humor, always with a clear focus on the internal life of the main character. Frida is, at the same time, fragile and strong, idealistic and sensual, profoundly serious and devastatingly fun-loving...
María Isabel Sánchez,Magazinemx
Ovation for the Premiere of the Opera Frida
The ovation for the Spanish premiere of the opera Frida lasted for eight minutes…The sold-out audience rose and showered the stage with red and white carnations… Many audience members participated in the spectacle by coming to the theater dressed as Frida (Kahlo) and Diego (Rivera).
Franco Daniel Gómez, El Universal
Rodríguez describes Frida as being “in the Gershwin, Sondheim, Kurt Weill tradition of dissolving the barriers and extending the common ground between opera and musical theater. In keeping with the Mexican setting of Frida, he has created a unique musical idiom. The score calls for mariachi-style orchestration (with prominent parts for accordion, guitar, violin and trumpet), in which authentic Mexican folk songs and dances are interwoven with the composer’s own “imaginary folk music,” tangos and colorations of zarzuela, ragtime, vaudeville and 1930’s jazz – all fused with Rodríguez’ characteristic “richly lyrical atonality” (Musical America) in a style “Romantically dramatic” (The Washington Post) and full of “the composer’s all-encompassing sense of humor” (The Los Angeles Times).
Among the “stolen” musical fragments developed in Frida (like Stravinsky, Rodríguez says “I never borrow; I steal.”) are such strange musical bedfellows as two traditional Mexican piñata songs (“Horo y fuego” and “Al quebrar la piñata”), two narrative ballads (“La Maguinita” and “Jesusita”), the Communist anthem (“L’Internationale”), Tchaikovsky’s Fourth Symphony, and Wagner’s Tristan and Isolde. And “Spanish speakers might also listen for the rhythm of a familiar Mexican curse growling in the trombone as Lupe (Diego’s former wife) insults Frida and Diego at their wedding.
The orchestra continues its ironic commentary throughout the work. Two examples: as Frida and Diego quarrel about their mutual infidelities, the brass offer a snarling version of the tender Act I love music, “Niña de mi corazon” (Child of my heart); and as Frida’s death figures (calaveras) recreate her self-portrait, as the wounded “Little Deer,” in an affecting ballet sequence, Frida is stabbed, both physically (by the arrow) and musically (by piercing orchestral repetitions of Diego’s demand for a divorce, “You don’t need me anymore”).
Deeper musical characterization is achieved through the extensive use of vocal ensembles. Rodríguez says, “You learn much more about people by watching them not alone, but in conflict with others. Frida and Diego have two powerful love scenes, one at the beginning and one at the end, with one fight after another in between. It’s that fascinating and unpredictable through-line of their relationship that drives the action.” The demanding role of Frida requires not only extensive monologues, both spoken and sung, but also duets, trios, quartets, a quintet, sextet and several larger ensembles, working up to an intricate nine-part “layer-cake samba finale.” In a musical metaphor for Frida’s unique persona, her vocal line is scored with its own characteristic rhythms: often in three-quarter time while the orchestra or the rest of the cast is in duple meter. As Rodríguez observes, “Frida sings as she lived – against the tide from the very first note.”