On May 8, Green-Wood Cemetery in Brooklyn, New York, was transformed into a space for cultural exchange with the presentation of “Frida, Diego, and the Day of the Dead,” an immersive experience that anticipates the premiere of the opera “The Last Dream of Frida and Diego” at the Metropolitan Opera, scheduled for May 14.

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Under the neo-Gothic arch of the main entrance and with the Manhattan skyline as a backdrop, the event broke with the conventional use of cemeteries to offer a celebration centered on the Day of the Dead, complete with marigolds, tequila and mezcal tastings, and mariachi music.

The presentation served as the official prelude to the stage production that will be presented at the Metropolitan Opera. The production, composed by Gabriela Lena Frank with a libretto by Pulitzer Prize winner Nilo Cruz, is structured around magical realism and presents a reunion between Frida Kahlo and Diego Rivera. Cruz’s libretto and Frank’s score seek to reflect the concept of death as a bridge of connection, moving away from traditional biographical formats.

In this narrative, the figure of La Catrina compels Kahlo to return to the earthly plane to help Rivera on his journey to the afterlife.

Four opera singers performed excerpts from the score throughout the event, complemented by poetry readings. Frank, of Peruvian descent, emphasized the use of Spanish as the work’s primary language.

The composition incorporates instruments such as the marimba to establish a “Latin DNA” in the sound structure. The project’s development required two decades of work, a period during which Frank identified an initial resistance to operas in Spanish and to minority-based teams within institutional circuits.

The selection of Green-Wood Cemetery is part of an ongoing cultural programming strategy. Founded in 1838, the site hosts more than 300 events annually, including concerts and festivals, with the aim of highlighting the history of its residents, among whom are figures such as Leonard Bernstein and Jean-Michel Basquiat.

Harry Weil, the site’s vice president of programs, stated that “you would think a cemetery would be a very quiet place, but it’s very active and engaged throughout the year.”

The activity is carried out in collaboration with Death of Classical, a non-profit organization directed by Andrew Ousley, which specializes in bringing the classical repertoire to unconventional spaces.

Ousley emphasized that the interventions are carried out “with respect and honor for the original purpose of the place” and mentioned other spaces of interest for future programming, such as the subway station beneath New York City Hall, a power plant at Grand Central Terminal, and Calvary Cemetery in Queens.

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