It’s El Día de Muertos, and Frida Kahlo is pulling a Eurydice in reverse, rising from the underworld to commune with the grieving Diego Rivera. Doesn’t sound like much of a story, does it? Lorena Maza’s original production of El Último Sueño de Frida y Diego, unveiled in San Diego in 2022 (with subsequent stops in San Franciso, Los Angeles, and last March in Chicago), landed like the splashiest oratorio ever. Yes, the Kahloesque production design was out of this world, but of drama or suspense the Pulitzer Prize-winning librettist Nilo Cruz delivered nary a scintilla. Even so, Gabriela Lena Frank’s wild carnival of a score pulsed with vivid folkloric colors and rhythms we’ll be thrilled to hear again—especially in the context of a production that generates real dynamism of its own. That’s what we’re hoping for from this season’s reboot at the Metropolitan Opera, orchestrated by the electric multihyphenate Deborah Colker. Highlights of Colker’s career to date include the Cirque du Soleil extravaganza Ovo (2009), which she wrote, directed, and choreographed; the opening ceremony of the Summer Olympics in her native Rio de Janeiro (2016), for which she wrangled 6,000 dancing volunteers; and the Met premiere of Osvaldo Golijov’s magical-realist Ainadamar (2024), with which Frida and Diego’s big night has more than a little in common. Isabel Leonard is Frida. Carlos Álvarez is Diego. The designer on point to channel their iconic dream worlds in décor and dress is Jon Bausor, who’d better be great. Yannick Nézet-Séguin conducts. —Matthew Gurewitsch