Wilberth Gonzales and Jon Bausor on the costumes in El Último Sueño de Frida y Diego

Ajouté : 2026-05-17

[00:00:00]Frida is such an incredible artist. Her wardrobe is so immense and her paintings really showcase the whimsy that, you know, every designer wants to create with. I'm definitely inspired by fantasy, [music] by art, texture, color.

[00:00:12]And it's a non-literal piece. We're sitting in a sense of surrealism, the transformative, kind of like a magic trick happening live in front of you.

[00:00:19]This sense that it is many things all put together onto one stage and it's not just about the visual is the thing that makes opera so exciting for me. We traveled to Mexico to really take in the clothes, the photographs, her surroundings. It was super important for me as a Mexican to really bring on Mexican hands to [music] work on the show. To go to Oaxaca and have artisan Oaxacan women try to recreate the visuals from research books, you know, using like the traditional thread and traditional techniques was like vital. It feels like we have generational hands that have had links to Frida. The masks themselves, they're copying historical costume from the Day of the Dead. We try to re-recreate that for the stage, something that feels handcrafted rather than something that feels like it sits in a kind of kitschness, I suppose. It's been very important to us to kind of put the reality of Mexico and that heritage on the stage. [music] >> I know that this is going to be a blast of electricity when all these costumes come on to stage. I think there's just so much to work with in the world of Frida and Diego and I think we really [music] brought that to life.