Review: Cruzar la Cara de la Luna

The Minnesota Opera opened its 2023-2024 season with the first ever mariachi opera: Cruzar la Cara de la Luna. The piece is not new – written by José “Pepe” Martinez (music and lyrics) and Leonard Foglia (lyrics and book), it first premiered at Houston Grand Opera over ten years ago – but this performance premiered David Hanlon’s new orchestral arrangement, which gives an additional instrumental depth to the opera. This production of Cruzar la Cara de la Luna struck all the right notes: it was heartfelt, colorful, and cross-cultural.

Cruzar la Cara de la Luna, which translates to “To Cross the Face of the Moon” is a poignant exploration of the how immigration impacts individuals and families alike. As Mexican immigrant Laurentino (Octavio Moreno) nears the end of his life, he begins confusing his American-born son, Mark (Efraín Solís), for his never-before-mentioned half-brother, Mexican-born Rafael (Efraín Corralejo). Mark’s daughter Diana (Zulimar López-Hernández) does everything she can to find Rafael so Laurentino can find the closure that he needs to pass on.

What unfolds is a heartbreaking tale of shattered dreams and unrealized aspirations underscored by consistently strong values of family, love, and hard work. Cruzar la Cara de la Luna has unsurprisingly resonated deeply with audiences across the United States and beyond, earning accolades for its emotional richness. The recent run at the Minnesota Opera added to this repertoire with the updated score, an immensely talented cast, and stunning visual design.

Every cast member shone in Cruzar la Cara de la Luna, but there were a few standouts for me. Vanessa Alonzo as Lupita was one of those. Her understanding of both opera and mariachi was apparent in her singing. Her heart-rending, trilling solo “Di mi nombre”(Say My Name) left me near tears. Efraín Corralejo, who is currently the Minnesota Opera Resident Artist, was another standout. His stoic stage presence worked well for his role as a prodigal son of sorts and his shimmering tenor was breathtaking.

I would be remiss not to mention the set itself, which was both bold and colorful. A huge, shining moon topped a dark silhouette of two rolling mountains. In front of that was a burnt sienna structure where the three-piece mariachi band that accompanied the orchestra often stood. The bottom of that structure housed three oversized doors that were used as suggestions of homes.

A few notable set pieces rolled on and off the stage: Laurentino’s modern day American room, which was contained in a huge, pink box; his small Mexican home which was an earthy, sloped pyramid; and a border wall, which was light blue and impossibly tall. Scenic designer Arnulfo Maldonado was inspired by renowned architect Ricardo Legorretta, which was evident in the sharp, angular lines; bold colors; and playful use of negative space.

Although mariachi and opera might seem like an unlikely pairing, the two traditions are very alike. “The ways that mariachi and opera singers use their voices to sing are remarkably similar,” says Minnesota Opera President and General Director, Ryan Taylor. That, in addition to the flamboyance of both art forms, makes them meld together very naturally.

José “Pepe” Martinez was uniquely suited to create the world’s first mariachi opera. Born in 1941 in the small village of Tecalitlán, Martinez showed a talent and passion for music from a very young age. He became very involved in the rich mariachi tradition of his community and by the time he reached his mid-30s he had established himself as a prominent composer. He made mariachi his career and was the music director of Mariachi Vargas for nearly 40 years. In the middle of his time there he wrote Cruzar la Cara de La Luna for the Houston Grand Opera, where it premiered with acclaim, as mentioned above. He passed away in 2016, but first created an additional mariachi opera (El Pasado Nunca se Termina, which translates to “The Past is Never Finished”) again with Leonard Foglia.

Cruzar la Cara de la Luna is short for an opera: the runtime comes in at just under 80 minutes. I will admit to an initial disappointment when I saw the time (we love an intermission over here) but my disappointment evaporated quickly. This is one of those instances where brevity truly serves the story. Cruzar la Cara de la Luna leaves its audiences wanting more in spite of its satisfying narrative arc. Operas usually leave me feeling full – this one left me feeling satisfied.

Delightfully, Minnesota Opera realized that some of us might be disappointed if we were robbed of an intermission, so they capped every performance with an hour long after party. A mariachi band played for a full hour after the performance. Alcoholic drinks were available for purchase, soda and water were available for free, and there were Mexican sweets available for the taking. It was the perfect button to end the evening.

Through Cruzar la Cara de la Luna, Minnesota Opera reiterates its commitment to ‘singing every story’ and illuminating the rich tapestry of the communities within the Twin Cities. This groundbreaking production bears witness to the harmonious interplay of cultures and the universal themes of family, love, and the quest for belonging. The party at the end of the performance felt like a celebration of diversity. Exploring other cultures through art, food, and music inevitably brings us closer together.

By the time of this publication the production will be over, but the Minnesota Opera season has only just begun. For other productions this season, please go to the MN Opera Website, listed below:

www.mnopera.org/blog/mn-opera-announces-its-2023-2024-season/