I was taken to be a surrealist painter.
This, however, is incorrect:
I have never painted dreams,
I only represented my reality.
Frida Kahlo’s letters and personal diaries are the common thread of this contemporary toilette opera, which presents a little-known side of the legendary Mexican painter: a Frida who wonders in her writings about artistic creation, surrealism, the hypocrisy of the art market, physical pain, and her own turbulent personal relationships, always with her characteristic sense of humor that makes of this piece a very enjoyable work.
Composed by Marcela Rodriguez, for nine instruments, one mezzosoprano and an actress, this chamber opera presents an intertwining of minimalism and postmodernism, texturing the contemporary score with tunes that evoke Mexican folklore. The staging by Jesusa Rodriguez and Clarissa Malheiros, involves some of Frida’s imaginary companions: her Judas, her calacas (skeletons), which appear as a near extension of the artist herself, embodying her delusions, passions and fears. Taking one part of Frida Kahlo’s life (that has been overshadowed by the “fridatization” and marketing of her paintings) allows us to understand an amazing fact: there is nothing more surreal than everyday life.