Frida Kahlo at Nationaltheater Mannheim

Act 1 Carlos Chávez Sinfonía de Antígona, Symphony no. 1
Chavela Vargas La Llorona (the band)
Ludwig Nussbichler Eclipse - Traumbildfragmente II
Edgar Varèse Ionisation
Carlos Chavez / Dietrich Buxtehude Chaconne in E minor for orchestra

Act 2
Ludwig Nussbichler Endymion - Traumbildfragmente I
Einojuhani Rautavaara Melankolia, 2nd movement from Cantus Arcticus (Concerto for Birds and Orchestra)
Chavela Vargas La Llorona (the band) Carlos Chávez Symphony no. 5, 2nd sentence
Silvestre Revueltas Sensemayá
Ramón Montes de Oca Téllez El Descendimiento según Rembrandt

It plays the National Theatre Orchestra.

"... A bomb decorated with a bow" - thus characterized André Breton, the painter Frida Kahlo. He presented paintings of young Mexican woman in 1939 in Paris in an exhibition of the surrealists. Frida Kahlo
but said of her work: "They thought I was a Surrealist, but I was not. I have no dreams painted. I have painted my reality. "

This reality was determined by disease, the consequences of an accident and ever new operations. She was determined from the bourgeois-democratic revolution, which she experienced as a child, and from an artistic
Environment which are the ideals of the revolution
prescribed and from Europe, North America
and Latin American art traditions scooped. Determines friendships to photographers, painters and musicians, and by marriage with one of the most important
Painters of Mexico, Diego Rivera.

And they found expression in still life and landscape painting, numerous portraits and especially self-portraits. Influenced by Mexican portrait painting and Italian Renaissance, from pre-Columbian folk art and religious
Votivmalerei mostly arisen small format
Images - an existential painting as idiosyncratic hovering between realism and Fantastik, with bold colors and a flat painting style.

Frida Kahlo fixes the viewer out of dark eyes, the strong eyebrows grown together in the middle. You are her trademark in her numerous self-portraits with the most immobile face that betrays no mood, but is surrounded by symbolic objects, everyday objects and ornaments that make to associative narratives the self-portraits.

Choreographer Dominique Dumais has been working for years with the painter Frida Kahlo. Together with conductor Günther Albers (Beethoven) and Tatyana van Walsum stage and costume designer (Résonances
Chopin) they can now on the Opera House stage a world of Frida Kahlo arise.