Frida Opera in Two Acts Music Robert Xavier Rodriguez Libretto Hilary Blecher, Migdalia Cruz Spanish Translation by Josefina Garcia Piano/Vocal Score G. SCHIRMER, INC.Composer's Note Frida is based on the life of Mexican painter Frida Kahlo and her tempestuous relationship with Diego Rivera. It was commissioned by the American Music Theater Festival (now Prince Theater) and premiered in Philadelphia in 1991, with Helen Sclmeider in the title role, stage direction by Hilary Blecher and musical direction by Richard Cordova, Jol Rockwell, in the New York Times, named it “The Best Opera/Musical Theater of 1991.” Frda’s original libretto, by Hilary Blecher and Migdalia Cruz, was written in English, with some Spanish. For the European premiere, in Vienna, a German narrator was added, giving a synopsis of each scene and reading excerpts from Frida’s letters, translated into German. A Spanish translation by Josefina Garcia, included in the present edition, was commissioned for the Mexican premiere, in Guadalajara, in May, 2007, I. Production. There are two acts, each lasting approximately 45 minutes. The piece can be done with a minimum of nine soloists (Frida, Diego, solo quartet and three Calaveras). In the original Philadelphia production, which toured to Boston (American Repertory Theater) and New York (Brooklyn Academy of Music), the quartet and Calaveras performed multiple roles. Puppeteers sang along and appeared (sometimes with puppets and sometimes without) in the large ensemble scenes. Much of that production was done in ballet- pantomime style, with the quartet providing voices on a raised platform while the puppeteers and Calaveras acted below. Diego and Frida, however, always remained singing actors. In some scenes there was a mixture; for instance, in Act Il, Diego as a singing actor conversed with a dancing life-sized puppet Edward G. Robinson, while the baritone member of the quartet stood next to the puppet and provided Robinson's voice. To those forces, the Houston Grand Opera production, also directed by Hilary Blecher, added a quartet of choristers. Subsequent productions, such as in Nordhausen, Recklinghausen and the Vierma Schauspielhaus, have taken quite different approaches. The San Francisco (City Summer Opera) and Guadalajara (Festival de Mayo) productions had little doubling and no puppets; each character was a separate singing actor, with a cast of as many as 65, including a separate corps of dancers and, in San Francisco, interactive film and video. The one common thread through all of the productions has been a close adherence to images from the work of both Frida Kahlo and Diego Rivera.I, Music. ‘There have been two instramentations of Fridz, A smaller version (cl/asx, tpt/flagel, per, acn, vn and piano) was written for the original production, and it has since been subsumed into an expanded version (adding thn, gtr, va, ve, db), commissioned by the Houston Grand Opera. It is also possible to perform the opera from the piano reduction, adding whatever additional instruments are available. In addition, there is a thirty- minute Concert Suite from Frida, for mezzo-soprano and the full instrumentation, of ‘excerpts from the opera. ‘The music of Fridz is in the Gershwin-Sondheim Weill tradition of exploring the common ground between opera and nmusic theater. 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 imterwoven with bits of tangos, colorations of zarzucla, ragtime and jazz. Among the “stolen” musical fragments developed in Friia are such strange musical bedfellows as two traditional Mexican piftata songs (“Hora y fuego” and “Al quebrar la pifiata’), two narrative ballads (‘La ‘Maquinita” and “Jesusita’), the Communist anthem (“L’Internationals”), Tchaikovsky's Fourth Symphony, and Wagner's Toistan and Isolde, Spanish speakers might also listen for the thythm 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 love music, “Nifia de mi corazon” (Child of my heart); and as Frida’s death figures (calazeras) recreate her self-portrait, as the wounded “Little Deer,” in a 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. Frida and Diego have two important love scenes, one at the beginning and fone at the end, with frequent arguments in between. 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 samba finale, In a musical metaphor for Frida’s unique persona, her vocal line is scored with its own characteristic rhythms: often in Uwee-quarter time while the orchestra or the rest of the cast is in duple meter. Frida, thus, sings as she lived: against the tide from the very first noteFrida Cast List Frida Kahlo - mezzo soprano Diego Rivera - baritone An ensemble of four players, each playing several characters (or separate singers may be ‘used for some or all characters): Woman 1 - soprano; Cristina Kahlo (Frida’s younger sister); Mrs. Ford. Woman 2- mezzo soprano; Dimas’ Mother; Lupe Marin (Diego's wife at the time he met Frida); Mrs. Rockefeller; Natalia Trotsky ‘Man 1 - tenor; Alejandro (Frida’s teenage boyfriend); Mr. Ford; Leon Trotsky ‘Man 2 ~ bass /baritone; Petate Vendor, a Cachucha; Guillermo Kahlo (Frida’s father); Mr. Rockefeller; Edward G. Robinson. ‘Three Calaveras (Death figures) - treble voices (two women and one man, singing in falsetto) Chorus SATB Chorus members, dancers, puppets and/or Calaveras depict the following characters: Baby Dimas, a peasant woman's dead son Mexican Villagers Schoolgirls, Frida’s teenage enemies Cachuchas, Frida’s teenage male school companions Bus Passengers ‘Wedding Guests ‘Male Chorus of Communists and Revolutionaries Rich Guests of the Fords and Rockefellers Diego’s Lovers, a parade of women Frida’s Nurse Frida’s Female Lover Orchestration: cl(asx)/ tpl(flugel) tbn/pere/accord gtr-pf/-vn.va.ve.db Or cl(asx)/ tpt(diugel)/ perc / accord. pf/ vn (reduced instrumentation)FRIDA SYNOPSIS ACTI ‘Scene 1 - The Street outside the Escuela Nacional Preparatoria, Mexico City, 1923. Three Calaveras, death figures from Mexican folklore, introduce the scene. Schoolgirls enter ‘They are accosted by the unruly male gang of Cachuchas, led by the young Frida Kahlo and her boyfriend, Alejandro. Frida’s sister, Cristina, upbraids Frida for her boyish behavior. The Cachuchas chase off the schoolgirls, and Frida watches as a Mother whose child has died begs a Petate (straw mat) Vendor for a mat to bury her son. Frida is moved by the poverty she sees. She then witnesses a celebration of the Zapatista movement and takes heart in the promise of the revolution. ‘Scene 2 - Frida’s Room, Coyoacan, Frida tells Cristina of her expectations of life upon. coming of age. ‘Scene 3 - The Bus Crash, Mexico City. Frida and Alejandro kiss and board a bus. The ‘bus crashes, and the scene is enacted by the Calaveras to the tune of a corvida, Frida is severely injured, but she resolves to live and to begin her life as a painter. Scene 4 Diego's Mural at the Preparatoria/ Wedding. As Diego Rivera paints, his wife, Lupe Marin, poses. Frida and Cristina enter, and Frida presents her portfolio to introduce herself to Diego. Diego is fascinated by Frida. He leaves Lupe to ask Frida’s father, Guillermo, for Frida’s hand in marriage. At the wedding ceremony, Lupe ‘dramatically appears and makes a futile attempt to win Diego back. Scene 5 ~ Diego's Studio, Frida critiques Diego’s work as he paints a portrait of Emiliano Zapata. They are interrupted by revolutionaries, communists, businessmen and government bureaucrats, All denounce Diego and tell him.is career as an artist is finished in Mexico. He fires his pistol at them, and the Riveras resolve to try their luck in the USA. ‘Scene 6 - New York City. Frida and Diego attend a dinner party hosted by the Fords and the Rockefellers. Diego enjoys the adulation, and Rockefeller commissions a mural. Frida ridicules the rich in “Gringolandia” and gives a spirited interview to a group of reporters. Scene 7 ~ The RCA Building, Rockefeller Center, New York. Ina split scene, Diego works on his commission, Iviav ai te Crossroads, while Frida paints. She is in despair at being unable to beara child, Rockefeller berates Diego for displaying his communist sympathies by inclucing Lenin in the painting. The mural is destroyed, and Frida miscarries, She persuades Diego to retuumn to Mexico,ACTIL Scene 1-San Angel, Mexico. At home in adjacent blue and pink houses, Frida expresses herjoy at being home in Mexico. Diego is miserable. Frida chooses to ignore the parade of women through Diego's house, but she is horrified to discover her sister, Cristina, among them. Scene 2~ San Angel, Mexico. The communist Leon Trotsky and his wife, Natalia, join the Riveras in Mexico, Diego and Natalia confront Frida and Trotsky over their nratual affection. Cristina expresses her guilt for betraying Frida. Frida and Diego come to the realization that their differences cannot be reconciled. Scene 3 Frida’s Bath. Frida retreats to the seclusion of her bath and the comfort of a female lover. Scene 4— An Art Gallery/New York Apartment of Nicholas Murray, Photographer/Back in Mexico. Diego meets with the American actor Edward G. Robinson and sells him some of Frida’s work. Diego then urges Frida to pursue her own career, without him, Frida models for her lover, and talks to Inim as he photographs her. Frida and Diego decide to divorce Scene 5 - Frida’s Imagination. Haunted by her physical and emotional pain, Frida joins the Calaveras in depicting imagery from her paintings The Broken Column, The Lriéle Deer and Self Portrait With Monkeys. Scene 6- Finale - Frida’s Hospital Bed. In a delirium, Frida relives episodes of her life, including the assassination of Trotsky, of which she and Diego were accused. Diego retums and sings to entertain her, finishing with a proposal to marry her again. She agrees, saying he must realize that she is now her own creation, independent of him. ‘The Calaveras and the entire cast join her, singing and dancing in a joyful celebration, and she departs with acry of “Viva, la vida... alegria...and Diego.”The Story of Frida Kahlo Act I Hilary Blecher and Migdalia Cruz Overture Spanish translation by Josefina refa Robert Xavier Rodriguez (A Calavera is sen playing an accordion.) AAR maar COR} Presto brillanteJ= 116, > = —— Piano P e a —— Cooiht © 199 by G, Seine, ls: (ASCAB), New York, BY nol Consent Seared All Ripa Rese iy Feder iw and ee obi! posse ion.Act 3 80 (A third Calavera appears.) IAII¢ wo [~S = = attaceaect Scene la Preparatoria (The National Preparatory School of Mexico) Andantino aperto o A }=200 — sa Schoolgirls! So-mos hi - jas de la pre-pa-ra- (opitase) | mf => Acidantinw anette So-mos hi - jas de la pre-pa-ra = 200 ‘Tambourine to - ria, hi-jas bue-nas —-y ‘Me-nas de glo - ria, school - girls sweet and sc. ni = nas dul - ces y => ==> = => > —_— to - ria, hi-jas bue-nas —y_Ie-nas de glo - ria, school - girls sweet and ni - fas dul - ces y andoh so pret - ty and slim. We don't speak tothe Ca-chu - chas lis - tas, vjdv! tan lin = das tam-bién No ha - bla-mas con Ca-chu - chas 86. clev - er, andoh so pret - ty and slim. We don’t speak to the Ca-chu - chas piAy! tan Tin ~ das tam-bién No ha - bla-mos con Ca-chu - chas inor to that girl who acts just like them. ni-con la que-es - td con e - los (schoolgirls enter) = = 8.6. nor to that girl who acts just like them, ni-con la que-es - té con e - Mos Pitt mosso, moderato giocoso B J=112 ¢ 3 LoS sc So - moshi - jas de la - que-ri - da pre-pa-ra-to - ria Hi = 3 a 38 © = So - mos hi - jas de la - que-ri - da pre-pa-ra-to - Pitt mosso, moderato giocoso J=112 ee 7 2 Hs iTe-ne = mos pa - rasiom-pre de-cen-tes_me-mo ~ rias! 3 86. es ss 3 mas iTe-ne de-cn-tes me-mo - rias! mos pa - ra siem-pre6 Act shouting {Oh no! jLos malditos Cachuchas! sc La banda de Frida... (ete.) shouting jOh no! jLos malditos Cachuchas! Laibanda de Frida. (ete) (Frida, Aljandro, and male bicyclists enter Asttime only ts Fra’s gang, the Cachurhaa} Cachuchas F shonting cach, Shtspum! Go-ya, go-ya 19 (The schoolgrts's dresses yup) TT Ooh! (The girls giggle as the Cachuchas parade around on their bieyeles) cach, Cachtin, Cachin,ra ra Goy-a, Goy-a pre - pa-ra- to-rial D [2 poco parlando ——‘LYistesso tempo 2 Frida tpi 1236 TNS pat tcothe gets) (che laughs) —3— sh Fe —s— Stup id es- culm = clas, lit - tle dogs with-out jon - tas es-cuin - clas! iQue no sa - ben pen- aAct u oe ets Pr Eg hair, Come run with Fri - da, useyour brains if you dare! Ni-iii - tas sar! Ven-gan con Fri - da sisea-tre-venno mds. jNi- fii - tas Fr. ot de la pre - para - to - rial Don't just sing ho-san - nah y de la pre - para - to ~ rial jNo can-ten ho-san ~ nah y ae al e ho-san - nah y + nah y What a_ mon - ster! iAy qué mons ~ truo! What dis-gust-ing be - hav-ior for a jQué con-due-ta tan ver-gon - 208 Act cr. Frida, you shoulda’ iFrida! jNo hagas esol (speaking, imitating the girls) A (laughs) Fr ‘Oh, what a monster! Oh how disgusting! T can’t believe a sister of mine jAy, qué monstruo! {Qué conducta tan could be such a girl! vergonzosi! :No puedo creer que mi jermana sea tan fina! s.. (mocking the schoolgirls) Where they should have brains all they have” are En vee depen - sar 6 - lo - (cluster)Fr Al And Tas (cluster) ‘sar. mean... your mind. on loco Vae| = Act noth - ing’s. more ton - tas queno bor-ing thar sa-ben ni f (tothe girls) When you Took Cuan do mi When you look Cuan “do mi Ff (tothe xirls) in you quie at your = ran “el at your ran el stu-pid, re flec-tions, es + pe jo, re - flec- tions, es - pe - jo,10 Act aren't you shocked gNo les cho Al aren't you shocked gNo les cho (cluster) (cluster)Fr, AL cach. 66 cr. Fr, 86. cach, great - est minds of ‘mds sa - bios de Act us, we're Ca no, los. Ca walk the Lalu Schoolgirl Mex-i-co Mé-xi-co u We'll swim the Him-a iVen ce - mos las mon: chu - chas chu ~ chas 3 How will you ev-er eCi- mo “ha-rds to- moon... 3. How will you ev-er ¢C6- mo har-ds to- we devour de vo-ramos ee12 Act “9 Fr, and swim... with sharks! yel hon do mar 86. cach, Co - per-ni-eus Co - pér-ni-co (Cristi reluctantly joins in) cr. cchu- chas. chu- chas. Fr = chu- chas, ~ chu-chas. ach, - chu: chas, great-est minds of Mex + chu-chas, ‘me ros me-ros de Mé ded,Act B 70 We have a mi Nues- tra mi- sidn. ntedly, ta the girls) (back, with the Cachuchas) Fr e ~ m mis-sion to rise above ig no-rance, to Tearm__to make our tar la ig - no-ran - cia Glo-ri = fi- car nues- = « cach. chas, we have a mis- sion. co. De - rr0- tar la’ ig - no-ran- cia, glo = ri- fi-car Pitt mosso J = 112 (Frida and Cachueahas light firecrackers) Fr great. cach, coun Breat. la ~ Gio Pid mosso J = 1124 Act (firecrackers go off) as (shouting) cr. Frida! No! iFrida! jNo! Poco meno mosso = 200 2 (shouted) If you dressed like me, you could think better, run faster and see more interesting things! jSi.se vistieran como yo, pensarian mejor, correrian mas rapido y verian cosas mais interesantes! (The Cachuchas and Schoolgirls run avcay, showing.) w (B28 Anarchists! Subversives! Monsters! jAnarquistas! jSubversivos! ;Monstruos! Poco meno mosso J = 200 4 -* epikig Sig Up é es —=— = ° = ——— —— s yy => Ge at. é 8 8 o F a 2 Fe Be (Dimas’s Mother appears, surrounded by the Calaveras) * y nm = =Scene 1b ® The Dead Dimas Moderato iri Ta =~ Moderato agitato Dimas’ Mother 6 J=100 (The mother comes forward) sotto voce pew DM. Noth. ing. Na - da 0 sempre agitate os os Life -less Que haré e co rit. 738-7 3 T - dialed oy 3 Iwalkcir - cles through the cit~ y.. look-ing for God... ca-ras hue + cas va go so - ta bus-can-doa Dias.16 Act Andante mesto, meno mosso J=80 3-3 6 eget look - ing. to ask, to pray. for mer - cy__ Rue - go a Dios, me dé su pie~ dad iz) OQ Ra LY Ro Mi 20 poco rit. °— —s— what else? what else? Qué mas? Qué mais? Seen) te ee eo ew Moderato deciso J=116 (She begins to rummage through a petate vendor's straw mats) 23 5— SR 5Act v7 6 DM My son, please, a place to rest his— Mi hijo. por javor... un lugar para que descanse Petate Vendor py, Oye! What the hell... those aren't free! Qué haces? No son gratis. ee Ze Soe # © = === 28 Py You want a petate, lady, then, hijole, you pay for it! {Si quieres un petate, senora, hijole, tienes que pagarlo! D.M. My sweet Dul - ceAct 18 Andante espressivo 35 1288 Woman 1 (or chorus) wa —z mm b.wt Di mas, my sweet. Di =~ mas__ Di = mas. ‘Man 1 (or chorus) aut ce Di mas__ — Ma Andante espressivo 8k _ ———__ Mihi —,Act 19 8 wa Dark - ness is Mex-i - co. Tris - tees - td Mé-xi - (in great anguish) Bread could have saved him! light has died. with him. 1Sin pan na pola vivir! luz mu ~ rid con al ness is Mex-i - co. tees - th ME-xi - ov. By. You let him starve?! igMurié de hambre?! You must pay for bread, and I have nothing. jEl pan hay que pagario! Fr Children must have bread! Pan para los nifios!20 Act Movente, poco agitato J=108 Twould have cut my own flesh to feed him— ‘ut he's gone from me. 00 late. 100 ate! ubiera dado mt propria sangre. Poro'se fue. es demasiado tarde. (The petate vendor places the body of Dimas on a straw mat, Frida places marigolds around the body. Three Calaveras take him. They continue to be a part of the action throughout the opera, cd lib.) wal DM. Py.Act a Py. == Subito meno mosso ‘ =a oo J=88 a piacere 8“) A tempo (andante) a Fr. ll nev-er for-get those _ star-ing browneyes. Sus 0- jos sin luz nun-caol-vi da - ¥é a Ma Py. 3 3 3 o God. Pa-dre Nues-tro que es-tas en los cie = los. Dias. A tempo (andante) wom fT)2 Act —3— you're steaT-ing your own breath tees» tds__ mu-rien do, m3 8 Fr. The on - ly jBn lu-gar_— de ing your own breath ‘mu-rien = do. Why do the rich live while the rest of us dic? Por qué viven los ricas y mueren los pobres? _ “ay ll AAct 23 It is e- nough. jBas-ta yal Fr, ia 3 road) to heav - en__ should-n’'t be through hell ver al_—cie - a ve-mos sé - loin-fier PY, It is e- nough.. jBas -ta yal == SS intensely 3 Fr, Ma You're steal-ing your own Tees - tis mu-rien PY, In this world there is never enough—Life is God’s lie! iLa vida es la mentira de Dios!mw 2 Act we 3 4 wa nues-tro de cso DM. nues-tro de ca-da Fr the chil - dren mo-rir los Ma By. — nues-tro de ca - da a3 —3— wa Dé-nos- lo. —3— DM. Da-nos- lo, —3— Fr you're steal-ing your own tees - tds mu-rien aa nues-tro de ca - da 7 Dé-nos- Io... Py. t— 3 Da-nos- Lo.. SINAct 25 Iwill remember you, those honest eyes— the eyes of. (Ojos de muerto Esos ojos Sobre un petate verde y amarillo rit, —3— eee on tempo PP wa DM Fe death. Those eyes on a yellow-green straw mat. tuna cinta rosa porque eres un regalo a la tierra PP Ma is dressed for mas veal pa Py. is dressed for mas vaal pa tempo os26 Act ritard. oy ‘atempo a a wat dressed for God. (The mather exits ver a Dios, {There isthe sound of distant gunfire a the scone changes olutionary baat dressed for God ver @ Dios. Fr Yellow and green are death. Verde y amarillo son ta muerte Ma py a tempo = attaccaAct 27 Scene Ic Adagio religioso Zapatistas 1266 pails = 3 3s We want what we've eared with the sweat off our zap Zapatistas | Ga-na- mos late - rra con nues-tro. su imp solemnly 3 3 3 We want what we've earned with the sweat off our Ga la tie ~ rra con nues-tro su- Adagio religioso J 3 mp solemnly a Land is lib - er - Tie-rray li - ber - mp solemnly =—3— Land is lib - er 7am: Tie-rray li - ber - Toa Land’ will set us free. dor tie -ray li - ber - tad 3 Land will set us free. dor tie -rray li - ber - tad28 Act 3 WE Will fight for our tad Vi-va-mos nues - tra his 3 a WE Will fight for our Zap. tad Vi- va-mos nues - tra his Glo-rious Mex -i- co, the coun - try where our fa- thers died 10 Glo -ri- 0-50 Mé - xi-co, he - m-i-co sin par, uw - Glo-rious Mex -i- co, the coun - try where our fa- thers died to sri o-+s Me + xi-c, he - m-i- co sin par, lu - =3—- free - dom ‘we will fight for our 10 ria con or - gu-lloy po- os 3a we will fight for our Zan. con or - gu-loy po- give usback our his - to - ry filled with strength and pride. che mos to-dos jun - tas por nues-tra WE ber - tad. give us back our his - to - ry filled with strength and pride. che - mos to - dos jun tos___por nue-stra lib. - er - tad.Act 29 and dirt - y der, de jren-twy sin te - and dirt "y fin - ger Zan. de jren-tey sin te - —] = Land to those un - a - fraid of hard work a-a- que-mos ta dura la ~ bor us cst = Land__ to those un - a - fraid Of hard work a-a que-mos la dura la ~ bor lw pen. I u ride on for- eign sails. mor por nues- tra li - ber- tad. nails who ride on for- eign sails. mor por nues-tra Ti - ber~ tad 3 3 —_ 3 land) a@-way from the thiev - ing rich, We are the che - mos con-tra los ri ~ cos so mos el fu [aras s land a-way from the thiev - ing We are the che - mos con - tra los ri cos so mos el fu30 Act poco rit fu-ture, cre - a ting life from the deaths of our fa - thers. Zap. tw ~ ro, ere-an-dovi- da de nues- tro pa - sa cre - a- ting life from the deaths of our fa - thers. tu + ro, cre-an-do vi - da de nues-tro pa- sa - do poco rit. a tempo 16 preverently —> Vi - va, vi-va, vi-va Za - pa tal preverently — Zap Vi - va vi-va, vi-va Za - pa tal, a new gen-er-a tion @ new gen-er-a = tion con nue - vas v0 = ces, a tempoVi-van tie-rra_y Zap. rais-ing our voic - es proud of the Az - tec dust be con a-le-gi - a tie -rra-deaz- te - cas la proud of the Az - tec dust be tie-rra-deaz te- = cas la rais-ing our voic con @-le- gré vi- va, vi-va Za - pa tal =— 2h vi-va, vi-va Za-pa = tal neath, our feet. Mex - i- cans_ forMex - i - co. vi da nos das. Mé - xi-co pa-ra Mé- xi - neath, our feet, Mex - i- cans_ for Mex - i vi - da mos das. Mé - xi-co pa-ra Mé - xi - co32 Act tierray li - ber- tad! ap. tie-rray li - ber- tad! stand-ing to-geth our love is com- plete, nues- tro des-ti amor y bon - dad. stand-ing to-geth our love is com-plete. nues- tro des ti ‘@-mor y bon dad. Triumphantly 4g zap.Act 33 + van tie-rra Zap. : + van tierra = van tiena van te-rra Zap.34 Act w cr. No, Frida, you were... No, Frida, naciste.. Fr, es was born the same day as the revolution. Yo naci el dia de la revolucién. vi van_____ tie -may li - ber - tad! ap, tie -rray li - > Vi = van, de -ray li - ber - tad! _~ tie -may li Zap. Viva Zapatat ;Vivan tierra y libertad! La tierra para el pueblo! {Abajo los rces! ete ~~Act 35 Repeat, ad lib., for scene change. Begin to wind down at cue: Frida: “It’s so amazing. A part of myself...” 6 be tro36 Act Scene 2 Frida Becomes a Woman Frida is having her first period. She very clinically watches the blood run dawn her thighs as Cristi looks on, fascinated. FRIDA 10's so amazing, A part of myself is running down my. thighs. In this blood is an egg which, if I had been “lista” enough to catch one, @ sperm could have penetrated and made into a baby. A little me and somebody. Alex is the only one handsome enough for me. It has to be his sperm... (Cristi looks shocked) 1 ‘thought it would never come. I must be the last gir! in Coyescan to becomea woman. cRIsTI ‘You shouldn't have worried so much aboutit, Frida. Is not such a bigthing. FRIDA Iwas for me. Eighteen and still like a boy. cRIst Frida! The things you say! (With concern, Cristi reaches out to touch Frida’s Joreheadand Frida pullsaway,) FRIDA ‘Today my bath water will be pink. Tl wash the blood from my legs into the water, and the water will take it tonew, foreign places. Into the ocean, into the mouths of tuna, onto a beach in San Franciseo. 'm going to run away ( San Francisco. That's where life is—for bohemians, and artist-philosophers. And only intelligent people are allowed to go there. (Puree) Oh, Cristi, de you think he'll still love me even though I'll have blood coming out of mealll the time now? cRIsTL Of course, he will. FRIDA ‘My children will have my brains and their father’s beauty, or my brains and my beauty. One thing is for sure,they have to be wild and unpredictable. cRISTL (Teasing) And nothinglike you! (They laugh. Cristi exits. Alex enters. Frida moves to him, and they enter the next scene.) (Frida tiene su primera menstruacién, y observa linicamente ia sangre que le corre por los mustos. Cristi tamira,fascinada,) FRIDA, Es asombroso, Una parte de mi corre por mis muslos. En esta sangre hay un huevito que, si yo hubiera sida lista, un esperma hubiera penetrado y formado un bebito. Una parte de miy de alguien mas. Alejandro es el iinico bastante guapo para mi. Tiene que ser su esperma(Cristi a mira, escandalizada) Creia que nunca llegaria, :Crees que yo sea la ciltima muchacha en Coyoacanen hacerse mujer? cRISTI No debes preocuparte tanto, Frida, No es tan importante FRIDA Lo es para mi. muchacho. diez y ocho aftos y todavia como un cRISTL iEvidal ;Qué cosas dices! (Preocupada, Cristi toca @ Frida en la frente. Frida se aparta) PRIDA Hoy el agua de mi bao sera rosada. Lavaré la sangre y elagua la levaré hasta lugares nuevosy Iejanos. Hasta el océano... en la boca de los pececitos... hasta una playa en San Francisco. Alli es donde hay vida - los bohemios, los artistas y fildsofos. Sélo a las personas inteligentes se les permite estar alli. (Pausa) Oh, Cristi, gcrees que él me amara todavia, aunque ahora salga Sangre de mitodoel tiempo? cRIsTL Claro quesi! FRIDA Mis hijos tendran mi cerebroy la belleza de su padre, 0 mi cerebro y mi belleza. Como quiera, una cosa es segura: tendran que ser apasionadose impredecibles, cRIsTL (Bromeando) ;No como ti! (Se rien. Cristi sale. Entra Alejandro. Frida se mueve hacia élyambosentran en laescena tercera.Fr AL Al Act 37 Scene 3a Bridge to Bus Scene (Alex enters) Look, I'm not some stupid little whore who'll drop her pants for agybody whol asker. It was the first re for me, Alex. we. Yo no soy ninguna putita extupida que se baja Tos ealzones pra bualgutea quae pide: Eta fe Sat primena ves, Alcjandro Alex & y Mine too (pause) La mia tambien © Promise you will love me forever. Kiss me. (passionate kiss) Prométente que me amaras siempre. Basame. (Alex soos the bus arrive dand palls from her embrace.) Bb (laughing) Y Forever. Frida, the bus! Siempre Frida, el camion! a (ehouts) (They exit on the bus.) Hey wait! We're coming! Bley, espérennos! ;Ya vamos! attacea38 ect Scene 3b The Accident (“La Maquinita”) Allegro giusto d. 2 Women singers may clap rhythmically as they sing, ad lib. chor. A - qui yohe ve - ni-do por -que yahe le- chor. ga-do y ven-go muy des - can - sa-da, Can- tan-do can: chor. cio-nes me pa-so la vi-da un po-comés di - ver - ti-da Chor. EL au-to-biis co - rri-a so - bre-laes-tre-cha vi-a, de pron-to se fuea es- tre El au-to-buis co - rri-a so - bre-laes-tre-chavi-a, de pron-to se fuea es- tre.chor. chor. chor. co Act 39 Con - tra un tran - vi- a, na die pen-sa - ri-a que Con-tra un tran - vi- a, na - die pen-sa - ri-a que Fue en el afio_ vein-ti- Fue en el afio_ vein-ti- sep-tiem-bre el die - ci sie Cuan-do per - die-ron La la = sep-tiem-bre el die - ci sie Cuan-do per - die-ron la40 Act (The Calaveras show models of «bus fund a streetcar on a collision course.) Hor pe = ro Fri - da que - dé vizva Ia cruz blan- ca, Ile - gé la ro-ja aau -xi liara los chor. 6 la cruzblan-ca, Ie - g6 la ro-ja aau Ia cruz blan- ca, Ile - gé la ro-jaaaux -i Hara los Fr Ili en con - tra-ron su cuer poen-sar- chor. 3

, Andante mesto a ben sostenuto, sempre lexatissimo We were to climb the Him-a - la- yas, don’t touch the sun with-out Es - ca la - re~ mos las mon - ta - fias, los dos ire - mos al _——— Re -mem-ber me ‘si, pien-saen mi pee ae ee Fr not shat-tered likethis, ‘Tell me some-thing new, mia-mor, no co - mo me ves. So fie + ‘mos’ mia-mor pn ee48 Act Fr, es pa-ra siem - pre, a a (Alejandro leaves. Frida turns = toward him, then turns away.) =. a aA Fr para siem Al We were all certain she was going to di Todos creiamos que ella iba a mori. > 37 Poco agitato J = 144 Fr day goes on. hoy guela vi & Fr. gt gt I feel the wind. of my faith-ful“Pe - lo sien = to pa-sar- a mi bue-na*Pe - lo3 Act 49 anaes, Will my life once a-gain = be = com eSe-réu - na mujer ° tra ® RD. ne EDD. = eh =— 3 ss Fr, plete? When I look — in_a@ mir-ror one vez? Cuan-do mi - reales - pe-jow-na AANA 3 3 3— Fr. Fri. da looks out. One Fri da looks in. Fri dahaya - Wi, me mi - ra ami §50 Act = FB ato Tilwear) amask to cov er my pain, To-das mis pe - nas pin - ta- ré. a3 Of Fr ste = Tillive my life up-side down. Y o-ta ve vi-vi- ré A ————— = Ss fF a 88 A tempo, agitato z= Fr r 2 ie ote dan - ces ‘round. my bed at night,but I re-iuse. wary. muer = te dan- 2a mial - re-dedor,mas yo me nie-goa-llo- rar, 2 F poof Fr = > dan - ces ’round my bed at night, but muer - tedan - 24a mial - re-dedor, mas ttf eteAct 51 0 104 108 poco ritenuto (poten) Titard: Dear Alejandro: I stole some oil paints from my Father. Querido Atejandro: Le robé unos tubos de pintura a mi padre. ritard. ‘And my Mother ordered this little easel so I could paint lying down in bed Y¥ mi miadre orden un caballete especial para: que pueda pintar en la cama. a tempo eee — Fri-das I see in these fac - es roam the world, while I lie here Fri-das que mi-roen el lien - 20 Ti ~bres- van pe-rosin mi, ws52 uz Fr. dip pin n6 Fr, Fr 14 Fr Act oF to paintthe col- or of my heart. ja san-gre de mi co-ra - 26n. ping brushes in to con la 10 the Fri-da I la Fri-da que Tl cre-ate Cre - a -¥6 what I hope, to que juisAct 53 A tempo, poco piit mosso d= 52 ‘PP 7 dad Fr, 132 Subite pitt mosso J = 80 ‘So Alex, Tam painting — my breasts and nipples a magic talisman. this for you, ‘mis senos y mis pezoncitos, un talisman magico. Alex, estoy pintando ‘esto para ti, 136 lunga a a a Fr, So that one day soon, very soon, ‘you will come back to me. Para que algiin dia, pronto, muy pronto, vuelvas a mi. lunga attacca54 Act Scene 3d Entr'acte-Intro to Diego Allegro giusto J = 144 e 2nd times f \ sim nay NEED A k te “4, + Note: any ofthe following repeats may be cut 1-4, 816, 25-28,cr. cr. Fr, 33 10 Act Repeat ad lib. ¢ Andante espressivo d= 40 Cristi 55 (Brida and Grist sneak up to wateh Diego at work.) 4 a Is that him? Es el? (Cristi stares ta move toward Diego) ‘That's Diego? cEse es Diego Rivera? a ‘Yes! That’s him. The greatest painter in the world {Si, es él! /EI mas grande pintor del mundo! ia ert De b: mf A Pesante Sh! iShh! attacea56 Act Scene 4a Tango Duet Tempo di tango J= 138 = (Lape moves seductively around Diego) a5! ef Diego > Lupe, can’t you hold still? ‘ape, no te muevas! n a piacere a tempo L Can't you stop to look in - to my eyes? If Idance for you? gPor-qué no me mi-ras,mi a ~ mor, so-la men-tea- mi? i ae.Act 87 6 look at Lu - pe then? Will you let me paint my Lu-pees pa - ra ti Yo quie - ro be- Tiook at you all the tine, Lupe Temirotado el tiempo, Lipe ——— 20 a piacere —~ name on your lips with my tongue? _ Will you let me taste your milk white, ba- by sar (us__ manos mia - mor. Es-tas ma-nos que me ha - cen vi- a tempo58 Act (suddenly she spots Frida’s 28 fuceinthe mural of is that wom-an you're so. bus - ypaint-ing in your mu- ral? es @ - sa mu-jer que pin-tas - teen el mu- ral? For a_ paint. er. EL pin = tor Who is that wom- an? She is-nt me! I've eDi ~ me quien es No soy vo, yo b, mod-els are es-sen - tial fresh blood to mix in with his paints! bus-ca de mo-de - los. Que pue —- dan ser ins-pi- ra cién. seen her be-fore : at our back door like a cat. sé que la vi s vi, la vi, A paint-er lives for in-spi-ra that does-n’t mean Un pin-tor___vi- ve pa-ra mas Lu- pe, ttAct 59 «piacere on oO a-round you like a whore! na puta tras de ti! I don’t love (She thinks it over, still suspicious) It’s hard to believe you could need more woman than me for your satisfaction, ePor qué necesitas otras ‘mujeres ademas de mi? o a a But you're too beautiful... you distract me. Go play cards, Nena, and then we'll make love. Es que eres demasiado bella—me distraes. Ve a jugar a las cartas, mi amor, y después daremos Juego al colchén — a ig x zt (They hiss.) Fr /Mi-ra me_ Se-fior Pin- tor! Triangle attacea60 Mmm... you alwaystaste like fresh cooked chicken, LUPE DIEGO ‘My women never go hungry! FRIDA (to Cristi) Isn't he adorable? CRISTI (to Frida) He looks so dirty! FRIDA Sowhat?Til bathe himt And) cRISIL gota big pot belly! Ovey! Act Lup ‘Mmmm, siempre sabesa pollo.con mole. DIEGO {Mis mujeres nunca pasan hambre! FRIDA éVerdad que esti guapisimo? cRISTI iPeroesta tan sucio! FRIDA eY qué? jYolobatio! cRISTE ‘Yesté tan panzén! jAyayay! Scene 4b Underscoring for Dialogue oe Cristi! You don’t understand, Cristi, ei no comprendes. It doesn’t matter what he looks like—1 imagine life with a man like that! No importa cémo luce, es un genio. he’s a genius, ilmaginate una vida junto aun hombre como ése! pe te Pee j ——— = = oS ——— iy 2 6 =Fr Act 61 $ He could teach me everything! Everything I need to know. iPodrta enseriarme de todo! Todo to que necesito saber. T'm going to tell him “Diego Rivera, look: at m You don't know who [am now, but one day F'l have your son!” Vou a decir,“ Diego Rivera, mirame! ;No me conoces, pero un dia seré ta madre de tu hijo!” a n a @ What about Alejandro? 2¥ Alejandro? Inthe alittle old? (pause) ‘You wouldn't dare! pe Zana hacer eo?! [Bera es mus viejo! (suddenly turning) a We're just palsnow. Ineed love Ahora somes amigos “con un hombre! iy nada mas. Necesito amor con un hombre! Wouldn't? Seguro que sil attacea62 Act Scene 4c Quartet Moderato J = 100 4 piacere a tempo (shouting to Frida) iQue sinvergiieval Ay, Dios mio! Be careful! (shouting to Diego) Fr, Diego Rivera! Diego Rivera! Moderato J = 100 @ piacere a tempo Fri - dal You're era - zy! IFri- daes-tés lo - cal Di-e-goRi-ve-ra Tthink we have an au - di-ence. Te-ne-mos u - nagu-dien - ci - a.Let’s givethema Las va- mos a Yes? ——. 8? Allegro commodo = ~~ w J=132 Fr, Tm Allegro commodo J= 132 work - No pue Act 63 Could youplease come.down to Por fa-vor ba-jeapa - raa- tle show. ver = tir What do you want? eQué quie-res wi? oS 1 have some - thing im Trai - go al ~ goim - por Go a- way. jBa-ja yal64 Act (10 Frida) ce You” éan't tell Fri = da what to Por Dios, Fi = da. Qué ha Fr por - tant to show you. fan te con- mi» g0 fines) L hur-ry down... ba-ja yal any- thing i> go? ‘May-be she’s not wear-ing an - y pan Pue-de que no lle ve cal - 20 just your ba-by sis - ter, what do I —-know a-bout men? soy sé-lo tuher-ma -ni- tay dehom ~ bresno sé. Your sus - pi - cions! There is iTus sos- pe - chas! Qué mis -so what am eY qué soy thing rio you dare me de (to Frida) All right. Muy — bien, Act 65 have some - thing I want + go al go queus - ted in her hayen su voice? voz? just. come down ba + jea - qué66 Act I know Sin - ce here! (Diego descends the scaffold and exits) my dear sis my dear Fri-da wow di ge Fri-da mi-a (to Lupe) (to Frida)Act 67 ” a piacere poco rit, a cr, I wish I could be more like you eve-ery now and Qui sie- ra ser més co ~ mo “ti pe-rm.a-ho - ra an (shouted) py a L Tcould tear your little tits off with my teeth! Te voy @ arrancar las tetitas con los dientes! a piacere poco rit. aA a a ot a tempo cr. then. About con no Las con-ven Fr, Don't be my en e- my. No me con - de neus-ted a tempo68 Act 55 cr. tion Fri» da could. «=r careless, cio nes Fri» da—sdes S- —preciaa si Fr. You're much too beau-ti- ful for Mu - jer tan be -lla_ co - mous L for you qué no? To test the wa - ters she — plun su rum-bo si = gue sin mie you're not of me... ano mes tii?Act 69 63 subito ritenuto poco parla cr. Cris-ti_ takes a little long - ger 0 . la Cris-ti mar - cha mas des - pa - cio she re-minds me... Co-mo e : Wa subito ritenuto (playfully mocking Frida) or a tempo a piacere poco rit. cr. I don't be-lieve in chance or fate, No hay des th= noni a - ar vo a tempo a piacere poco rit.70 Act ce 1 take wy time 80. Team Prevfie = ir mds des to rid ‘ mn (Lupe exits) He's the enemy, little one. ‘Watch out, he'll break your heart! Eles el encmigo, pegueria. Ten cuidado, te romperd el corazén. poco rit a piacere A cr.Act a a2 a tempo a6 (Cristi runs offin fright) Come on Frida... Let's go before. Ven, Frida. Vamonos antes de que... (Diego appears) Little girls, shouldn't you be in school? iNitias! No deberian estar en la escuela? Closter)2 (Diego appears jrom behind the scaffold and sees the girls. He seems surprised by how young they are.) DIEGO Little girls?! Shouldn't you be in school? (Cristi runs off in fright) FRIDA ‘Ym not here to flirt with you or anything stupid like ‘that! T brought some of my paintings and T want you to tellmeif they'reany good) (Frida lays the paintings downon the ground. Diego looks at them carefully insilence.) Tm serious. Thave to be able to support myself. So T need to know—do [paint or do T do something else? DIEGO (With admiration jor both Frida and her paintings.) Youshould paint. FRIDA (With growing exetrement.) Really? D’you mean that? DIEGO (Laughs, enjoying Frida.) Yes..1do. (Frida looks hesitant.) Now whar’sthematter? FRIDA What if you're just tryingto sweet talk me? DIEGO Why would? FRIDA ‘To get me in bed. They say you'll sleep with any woman who'snot anabsolute dog, DIEGO (Amused) Go and paint some more, nina. I'l try to come to your house next Sunday to see what you've done and tell youwhat Ithink, FRIDA (Elaced) Okay! T live in Coyoacan, Avenida Londres, number 126. (She starts to exit) My name is Frida Kahlo. (She exits.) Act (Diego aparece) DIEGO Niftas! zNo deberianestaren laescuela? (Cristi sale corviendo, asustada) FRIDA iNo estoy aqui para caquetear con usted ni cosa parecidal Le traigo aqui algunas de mis pinturas y quiero que me diga silas encuentra buenas. (Prida coloca los euadros en el suelo, Diego los mira en silencio, cutdadasamente) Hablo en serio. Tengo que mantenerme a mi misma, asi que necesito saber ¢Debo pintar 0 dedicarme a otra cosa? DIEGO (Admirando a FRIDA p sus pinturas) Debespintar. FRIDA (Con crecionte entusiasmo) De veras? ¢Hablaen serio? DIEGO (Se rie, disfrurando del entusiasmo de Frida) Si,deveras. (FRIDA vacita) 2Qué pasa ahora? FRIDA e¥ siesté uratando de seducirme? DIEGO 2¥ por qué harfa yo eso? FRIDA Para acostarse conmigo. Dicen que usted se acuesta con cualquier mujer que noesté muerta. DIEGO @ivertido) Vete a pintar, niiia. Trataré de pasar por tu casa el domingoa ver lo quehashecho y decirtelo que pienso, FRIDA iMuy bien! Vive en Coyoacdn, Avenida Londres, niimero 126. (Emyiexa a salir) ‘Me llamo Frida. (Sigue saliendo, pero wuelve para atris) Kahlo. (Sale)Act 3 Scene 4d Underscoring, Diego and Guillermo Dialogue and Duet (The door of Frida’s house appears) Giocoso=200 /te2% — =a) mp wf, Religioso Andante religioso J=88 Guillermo Kahlo Gx. So now it's every Sunday. Ahora son todos los domingos. (Diego knocks) 38 a = Why else would I come all this way? {Qué otra razén tendria para venir hasta aqui? You're not in love with my daughter are you? Usted no estard enamorado de mi hija, ceh? Hea, OSt*~ ‘A bold beau - ty born of pain, Te Ue - vo,Fri- da del do-lorAct 7 be-yond con - ven no sin fron - te fraid of love’s dark - er tints, youcre-ate your life in_col - ors no one mor a laos- cu - ri- dad. Las co-lo - res que cre-as ~ te con no- “ 7 Pit mosso J = 132 Fr, Di-e - go with his else dare touch. Like a ripe so - tres van, Co-mo fru Piit mosso / = 132 go ba, ——:7 x9 Act —_ Fr, of a sin - gu-lar tree, dulce co = =mo la miel accelerando ae bi ee gen - dle breath ed me. ha + ce vi - vir. = toa mi ———, me a-way and teach me We - va meal mun dow vo Sa vor life like a Animando J = 152 Vea vi daque pub2» Fr. ter white tai - rdn Act 79 of your world. de twa - mor. Fol-low voice ales = pa psub, — Your warm sweat-y hands tus ma - nos = known plac con fi que des -80 Pr, Act Subito meno mosso J = 132 Pou Tcould nev me das for = ma, uz, co lor wak - en to the sound of your pier - alo-i - tw re - Subito meno mosso J = 132 poub. makes an old ‘me. sen-tirAct 81 (Wedding guests enter)82 Act Chor. Fr chor.Act 83 chor. 0 Allargando grandioso a a iFe-li- ci- da 4, # chor. iFe-li - ci = da Allargando grandioso a Allegro J = 138 (noisy commotion 34 384 chor. Allegro J = 138 Ieee84 Act chor. ust Chor. + da sim + pre fe-liz! tgs - da siem - pre fe-liz! aflesato Chor. —- —— Dios los ben-di - gaAct 85 Fr, You are the E-res a sol chor. Fr, er the per tou - ni - ver chor. Vi - van os Y laa-le - gri86 Act uo = oni-verse where love will de los dos aw nal per : fect ou onieverse where love ver : - so de los dos la lw —3— L3—4 Chor. Que Dios los guar = de ‘To-dos los —3— Lg 3 Que Dios los guar - de To-dos los di - as Fr. from your face on el mun = doen —, from your face elo mm - do 3 Chor.Act 87 3 A man who's a boy for my own. Es - pe-join-fi-ni - mi a-mor 20 —_— mem ber, my sweet Fri = da, to-geth-er the cur - da, dul - ce Fri - da, la lw-na vel ome as 4 as mS a a 3 sun and moon” may light up the sky Dut each, sol al cie = loa- lum - bra = ran, masca88 Act ——— = — must fol - low its - er the same da u-no su + pre se~ gui - a9 ‘veryone takes places for the wedding im (Bs kes places for the wedding). A D 93, Adagio affetuoso Fr. D Adagio affetuoso wee P. = = pioleeAct 89 our brush-es__ will bring gods @ los an - ti-guos tem our brush-es__ will bring gods to the tem @ los an - ti-guos tem vol-ve re - 9 ce _— she'd fall in love too fast. ~ pi- do see -na mo - V6. Fr er wei paint a gold-en ring a - jun = tas pin = a-re = mos su > To geth er we'll paint a gold-en ring a = Yo jun - tos pin - -re = mos su Guillermo Kahlo ox. She's a dev-il Un dia-bli- to ,90 Act 101 Poco movente J = 104 cr 1__hope he'lltreather well. Quie-ra Dios que la trate bien Fr round the world jo - ri - a Lupe Sowreastcally —< es L = Be-ware of all thatlight it ‘will blind your lit-tle Cui-da-do con ta luz E-sa luz te quema Al washer first love is Di-e- go meant to Yo fui-sua - mor cre-oDie-goct il ti D ox bur I love her. masiaquie - 10 Poco movente J = 104 legato sempreAct 1 103 Fr. you “arethesun to my moon to-gether the ti law - napel sol un granu - ni L sou yoo” fete painfulnips —— datove YY pi- que-tes sen - ti- ras cuando Al be her last? b. Re mem-ber my sweet Fri- da Re-cuer-da dul - ce Fri-da 105 Pr, per-fect un i- verse, where love will shine irom_your face ver - so de los dos mi luz i- ha -ciati__ L § cuts from headto toe, prue-bes e-sea-mor. D. To - gether the sun and the moon will light up the La lu-na pel sol el cie- Ina lum-bra ~ GK. 1 hope he'll treather well. Que dla trate bien92 17 Act have for my own, rd pas ra mi a mar-ry that mon-ster in braids. cie- go por es - ta mu jer travels its own dau-no su or 3 who loves him like a moth lo quiere co - mo aun ni ——.]oOH>OVNoo—.Act 93 Piit mosso, andante grazioso mw Jaz , 3 Can't he see what she wants from his skin? Y mo ve lo que quie-re de él oo dd paint-er at-tached to a gi - ant__ Is fameand for-tune she wants from dio-crea su som-bra gi-gan - te No mds se ca-sa por in - te ee 4 fis (Lupe lifts Evida’s shirt t0 reveal her withered leg) (shouted, 10 Diego) a us him! iMi-ren! You see what you're getting, 7a and you see what you had! iMira lo que vas a tener, lo que twviste! &94 Fr cr. uz e we 16 Act Moderato J = 108 (she lifts her oxen skirt) (general gasps) a You're afool! _jPinches hombres! ildiota! ey 22 Adagio espressivo J = 60 Adagio espressivo J = 60 3 Largo? = 40 want quie my Mit ral uproar, (Uproar subsides. There Tuome applause.) 2 an auckward silence.) a (Lape exits. Ger laughter a a ritard. (tenderly) Twant you ritard, 7 mie = 10 oe rit, molto (shouting) 7 iQue vivan los novios! (Brida and Diego kiss. Cheers from all.) im Sweet. co-los - sus! Mi fiel co-lo - sof it te dove. rit. molto 4 ‘Pod.__ attaccaAct 95 Scene 4f Wedding and Entr’acte yay Chor. 313) hor. 513) chor.96 Act 707) chor. 9019) Chor.Act 97 29 General hilarity and dancing.) Repeat ad Lib. (The commotion moves offstage ay = tas the scene changes.) P Moderato J = 112 Bch i (Bride with Diego 33 (Lights up on next scene) C=, om his scaffold)98 Act Scene 5a Septet and Diego’s Song (Art is Ham) a Fr. No balance, too much ‘And, Saporrana, the horse red. Add some green, Zapata rode was black! Nohay balance Demasiado —Y Saporrana, jel caballo rojo, Pon un poco de verde. de Zapata era negro! a A D. What do you think, nifia Fisita? Claro. Qué crees, nifa Fisita? 4 Andante serioso J = 88 D. But white is more heroic. The people need heros. Pero el blanco es més heroico. El pueblo necesita héroes. g (laughing) Fr. But it's not the truth! {Pero no es la verdad! a D. and a hero needs a heroic setting Pm a revolutionary artist! pel héroe necesita una escena heroica. paint what I want. Sov un pintor revoticionari. Pinto o que quiero trveweneeomnnnnees = a ="