There are three Fridas here. The real one is standing next to her most famous self-portrait, The Two Fridas.
I went to the Live at The Met showing today, May 30, of El Último Sueño de Frida y Diego at my local theatre where there were even more Fridas.
There were four Fridas in the first and final act. The painting above was brought to life by two actors, their hearts bravely beating and bleeding out. A third Frida played her wearing a suit and the lead soprano, Isabel Leonard played Frida, dead, but considering a return to the world of the living for one day only, on the Day of the Dead, the Mexican festival to celebrate and remember loved ones who have passed away.
In The Two Fridas, the Frida who will always love Diego Rivera and the other Frida, who is determined to stop her heart from bleeding too much, sit side by side, connected by a single artery. The one lifeline that used to belong to Rivera is now between the two women.
In El Último Sueño de Frida y Diego, the opera by American composer Gabriela Lena Frank and the libretto by Pulitzer Prize–winning playwright Nilo Cruz, the story tells a reversal of the Orpheus and Euridice myth. Here, Frida is being asked to return from the underworld after dying three years previously in 1954 by her divorced husband Rivera who himself is nearing the end of his life.
I was thinking about what The Two Fridas, and this opera tells us about our inner and our outer selves. Both are revealing parts of who we are when we are with someone who brings out the worst and the best in us.
Frida Kahlo’s constant pain made her determined to paint with an unrelenting honesty.
And the quiet truth is that sometimes the person who needs to sit next to you is the only one who matters: yourself.