Multidisciplinary Frida Kahlo and Diego Rivera exhibition to land at the MoMA. This spring, Frida Kahlo and Diego Rivera will become fixtures of New York's cultural calendar. On May 14, the Metropolitan Opera will premiere El Último Sueño de Frida y Diego, a mythical reinterpretation of Kahlo and Rivera's relationship with each other and with their art set during the Day of the Dead. But before El Último Sueño's debut, the Museum of Modern Art (MoMA) will also get in on the action, collaborating with John Bausor, the opera's stage set and co-costume designer, on an innovative new exhibition. Titled Frida and Diego: The Last Dream, the show will gather five paintings and a drawing by Kahlo, over a dozen pieces by Rivera, and photographic portraits of both Mexican modernists. This selection is carefully curated from MoMA's own collection, which encompasses some of the most seminal works by the 20th-century artists. Kahlo's 1940 Self-Portrait with Cropped Hair, for instance, betrays her androgynous impulses, forgoing the feminine attributes with which she often depicted herself, such as traditional embroidered Tehuana dresses or flowers in her hair. The painting was produced a year after Kahlo's divorce from Rivera, in 1939, seemingly meditating upon the dual violence and liberation involved in drastically reinventing one's appearance. Rivera's Flower Festival: Feast of Santa Anita, on the other hand, is a more celebratory work. As its title suggests, the composition showcases a flower festival held on Good Friday, complete with a bold color palette and monumental floral motifs. Above all, though, the painting reflects Rivera's enduring interest in Indigenous Mexican people and traditions, both of which became central themes throughout his practice. When juxtaposed with Self-Portrait, Kahlo and Rivera's creative visions are palpable, offering an indelible glimpse into their aesthetic languages and scopes. Featured video. These works are, of course, a highlight, but at the heart of The Last Dream is its elaborate design. Bausor translates the opera's design from the stage to a gallery, drawing visitors "into the otherworldly setting of the production," per the MoMA. The exhibition, then, assumes an interdisciplinary approach, presenting Kahlo and Rivera's art in conversation with the opera itself. The result is an immersive and unexpected installation, deftly combining painted, musical, and decorative expression. To further enrich this connection, public programs produced in collaboration with the Metropolitan Opera will accompany the exhibition. "Together, the exhibition and programming will shed new light on how Kahlo and Rivera's groundbreaking art continues to inspire artists across disciplines to this day," the MoMA explains in a press statement. Frida and Diego: The Last Dream will be on view at the Museum of Modern Art from March 21 to September 12, 2026. Timed to a new opera inspired by Frida Kahlo and Diego Rivera, MoMA will host The Last Dream, featuring seminal works by the Mexican artists and innovative exhibition design. Frida Kahlo, "My Grandparents, My Parents, and I," 1936. (Photo: Jonathan Muzikar (C) 2025 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society) Diego Rivera, "Flower Festival: Feast of Santa Anita," 1931. (Photo: Erik Landsberg (C) 2025 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society) Frida Kahlo, "Self-Portrait with Cropped Hair," 1940. (Photo: Peter Butler (C) 2025 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society) Frida Kahlo, "Fulang-Chang and I," 1937. (Photo: John Wronn (C) 2025 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society) Diego Rivera, "Agrarian Leader Zapata," 1931. (Photo: John Wronn (C) 2025 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society) Exhibition information: Frida Kahlo and Diego Rivera The Last Dream March 21-september 12, 2026 the Museum of Modern Art 11 west 53rd st., New York, NY 10019.

Cast change: Aleksandra Kurzak joins Met opera's 'madama Butterfly' (Credit: gregor hohenberg). The company said that "soprano Aleksandra Kurzak will sing the role of Cio-Cio-San in Puccini's 'Madama Butterfly,' replacing Sonya Yoncheva, who has withdrawn from the run due to family reasons." Kurzak will perform on March 14, 18, 21, and 27, 2026 alternating with Ailyn Pérez, who will perform on March 10, 11 14, 19, and 23.Toni Marie Palmertree will sing the role on March 28, 2026. This is the second change for the Met's "Butterfly" after Pérez took over March performances for Elena Stikhina, who withdrew due to pregnancy. Kurzak will join a cast that includes Adam Smith, Jennifer Johnson Cano, and Andrzej Filończyk. Yoncheva returns to the Met in October for Cherubini's "Medea" in Italian. FRANCISCO SALAZAR, (Publisher) has worked as a journalist for over 10 years with such companies as Latin Post, and freelanced for Remezcla. He has also published for El Diario and La Opinion. He is a media producer and a classically trained cellist who has performed in the New York area. With OperaWire he has lectured at Bard College and been featured on Fred Plotkin, Jennifer Rowley and Angel Blue's programs. He holds a Masters in Media Management from the New School and a Bachelor's in Film Production and Italian studies from Hofstra University.

The Metropolitan Opera is embroiled in a dispute after director Carrie Cracknell and her production team demanded their names be removed from programmes for Bizet's "Carmen" following staging changes. The company also plans to revive a retired 2009 production. Cracknell's contemporary American setting, which premiered in December 2023, originally featured Escamillo arriving in a red Jaguar convertible accompanied by three lorries on computer-guided cables. The Met removed the Jaguar and two lorries for budgetary reasons, leaving Escamillo to walk onstage with followers pushing a motorcycle. Set designer Michael Levine called the changes unacceptable, saying they contradicted the original artistic intent. General manager Peter Gelb cited economic necessity, stating the cuts saved over $300,000. The costume, lighting, projections and choreography designers also withdrew their names. The Met recently announced 22 redundancies and salary cuts to save $15 million this fiscal year.