DOLORES (2025)
Music by Nicolás Lell Benavides
Libretto by Marella Martin Koch
Drama | Full-Length
7 Lead Singers, 4 Ensemble
The story of activist Dolores Huerta’s bold commitment to civil and workers rights movements against great odds, the pressure of US politics, and the tragedy of assassination. What do we do when our heroes are taken from us? We go on.
¡Sí se puede!
Co-commissioned by West Edge Opera, San Diego Opera, Opera Southwest, and BroadStage, with a rolling premiere beginning in August, 2025.
Dolores Huerta is a legend in the fight for farm workers’ rights. In June of 1968, the movement lost a major ally and Dolores lost a friend when Senator Robert F. Kennedy was assassinated. The opera focuses on Dolores’ struggles, triumphs, and tragedies during some of the most iconic and charged weeks of American history.
Characters
DOLORES, 38; Mezzo-Soprano; Chicano Civil Rights Movement leader and co-Founder and Vice-President of United Farm Workers; strategic, impassioned, tireless
LARRY, 55; Lyric Baritone; Filipino-American labor organizer and Assistant Director of United Farm Workers; disruptive, magnetic, bold
CÉSAR, 41; Bass-Baritone; Chicano Civil Rights Movement leader and co-Founder and President of United Farm Workers; self-sacrificing, soft-spoken, flinty
Senator Robert F. “BOBBY” Kennedy, 42; Tenor; Democratic presidential hopeful and younger brother to assassinated former president John F. Kennedy; charismatic, witty, likable
TRICKY DICK, 50s; Character Tenor; Republican presidential hopeful; ingratiating, manipulative, opportunistic
ETHEL, 40; Soprano; Coloratura Soprano; Bobby’s wife; self-assured, stylish, playful; doubles as HELEN, 40; Soprano; strong, devoted, determined
JUAN, 17; Tenor; immigrant busboy at The Ambassador Hotel; innocent, steadfast, sincere; doubles as JOURNALIST, 25+; Tenor; neutral and professional
FARM WORKER CHORUS
Time and Place
Spring, 1968.
In and around: the fields of Delano, California; downtown streets and hotel suites in Los Angeles, California; and a union hall in Washington, DC.
Anything is possible.
Act 1 Duration: 71 minutes
Act 2 Duration: 52 minutes
Total Duration: 2 hours 3 minutes
Instrumentation
1 Flute (Piccolo)
1 Clarinet in B♭ (Bass Clarinet in B♭)
1 Alto Saxophone
1 Bassoon
1 Horn in F
1 Trumpet in C
1 Trombone
1 Bass Trombone
1 Percussion (3 Timpani, 4.3 Marimba, Vibraphone, Snare Drum, Suspended Cymbal, opt. Splash Cymbal)
1 Piano
1 Electric Guitar (with Distortion Pedal)
Strings (1.1.1.1.1 minimum)
Production photos by Cory Weaver
The development of Dolores has taken place over the course of three years, with a series of milestones built into the process including:
January 2022 | A libretto reading with actors from Campo Santo at The Magic Theatre, led by Sean San Jose.
January 2023 | A piano-vocal workshop of Dolores at The Order of Odd Fellows, led by conductor Mary Chun and dramaturg Karina Gutiérrez.
August 2023 | Preview Performance at The Taube Atrium Theater in San Francisco.
August 2024 | A complete piano vocal workshop at The Oakland Scottish Rite Center.
World premiere in 2025: August 2, 10, and 16 with West Edge Opera in Oakland, CA.
Commissioners & Supporters Include: Steve Fletcher & Carl Croft, Christina & Kenneth Hecht, Terry McKelvey & Heli Roiha, Heidi Munzinger & Jonn Shott, William & Linda Scheiber, Carol Franc Buck Foundation, Alice Ditson Fund, The Fleishhacker Foundation, Sam Mazza Foundation, Phyllis Wattis Foundation, The National Endowment for the Arts, and Zellerbach Foundation.
“...dramatically tight and musically transporting.” “...a masterfully paced thriller” that “keeps the story on the boil...”
“...richly affecting...” with a “...resourceful and wonderfully eclectic score...”
“...an exceedingly timely social commentary on the times we live in...”
FEATURED PRESS
(all press at bottom of page)
By Joshua Kosman
““The strongest argument in favor of Dolores’ catchall approach, though, is Benavides’ resourceful and wonderfully eclectic score, skillfully conducted by Mary Chun. Wherever the story turns, Benavides stands ready to infuse it with just the musical expression it needs. When Chavez (bass-baritone Phillip Lopez) endangers his own life by embarking on a hunger strike to further the union cause, he gets a vivid leitmotif associated with personal sacrifice. The hard-bitten Itliong (baritone Rolfe Dauz) declaims in short, punchy bursts of tough-guy dialogue; Nixon (tenor Sam Faustine) sings a glib, slightly nauseating waltz. There are mariachi strains and potent choruses, a sweetly ingratiating duet for Dolores and Ethel Kennedy (soprano Chelsea Hollow) in which they bond over the tribulations of motherhood, and a sudden burst of horrifying noise in the aftermath of Kennedy’s assassination.”
By Michael Zwiebach
West Edge Opera unveiled another triumphant world premiere, opening its season with Nicolás Lell Benavides and Marella Martin Koch’s opera “Dolores.” Telling the story of a pivotal year in the life of labor activist Dolores Huerta, the show is dramatically tight and musically transporting — a work made to last, though it’s also undeniably timely.
…
“Dolores”has the frisson of a masterfully paced thriller — there’s not an extra word sung. Benavides’ score keeps the story on the boil with sharp rhythms in the vocal lines, and a gamut of styles and emotions. The composer and librettist are not above adding comedy and dance into the mix…. Benavides’ orchestration sounds much more opulent than its 15-player ensemble would suggest. His accompaniments are varied but also rhythmically layered, and conductor Mary Chun extracted every ounce of juice from this expansive score.
By Tom Jacobs (cross post with SF Classical Voice)
The nation is tense, and California’s Central Valley farm fields have become an unlikely flash point. The workers — mostly immigrants — who harvest the fruits and vegetables that feed much of the country are scared and angry. They labor to the point of physical exhaustion for low pay. Protests against these conditions are organized and soon gain widespread support.
This may sound like a dispatch from the front lines of 2025, a year that’s been marked by the Trump administration’s immigration raids and arrests across the state’s agricultural industry. But it’s also the historical backdrop for Dolores Huerta, who in the mid-1960s spearheaded a nationwide boycott of table grapes in solidarity with striking farmworkers. Alongside fellow labor leaders Cesar Chavez and Larry Itliong, she played an integral role in the era’s civil rights movement.
By Michael Zwiebach
West Edge Opera unveiled another triumphant world premiere, opening its season with Nicolás Lell Benavides and Marella Martin Koch’s opera “Dolores.” Telling the story of a pivotal year in the life of labor activist Dolores Huerta, the show is dramatically tight and musically transporting — a work made to last, though it’s also undeniably timely.
…
“Dolores”has the frisson of a masterfully paced thriller — there’s not an extra word sung. Benavides’ score keeps the story on the boil with sharp rhythms in the vocal lines, and a gamut of styles and emotions. The composer and librettist are not above adding comedy and dance into the mix…. Benavides’ orchestration sounds much more opulent than its 15-player ensemble would suggest. His accompaniments are varied but also rhythmically layered, and conductor Mary Chun extracted every ounce of juice from this expansive score.
COVER STORY By Janis Haashe for East Bay Express and East Bay Magazine
At 95, Dolores Huerta could rest on her laurels with no reproaches. Labor leader, tireless fighter for immigrant rights and civil rights, as well as feminist, Huerta has continued her work for decades.
But, said Nicolás Lell Benavides, composer of the new opera, Dolores, Huerta knows there is always more to do. The fight for justice is ongoing. And even when a life-altering tragedy occurs, Huerta does not give up, but finds a way to persevere…
By Andrew Gilbert for KQED.
A New Dolores Huerta Opera Brings a Labor Struggle to the Stage
A landmark labor struggle might seem like difficult terrain to explore in an opera, but Long Beach-based composer Nicolás Lell Benavides knew that he had a riveting tale to tell in Dolores.
…
All Press
By Joshua Kosman
““The strongest argument in favor of Dolores’ catchall approach, though, is Benavides’ resourceful and wonderfully eclectic score, skillfully conducted by Mary Chun. Wherever the story turns, Benavides stands ready to infuse it with just the musical expression it needs. When Chavez (bass-baritone Phillip Lopez) endangers his own life by embarking on a hunger strike to further the union cause, he gets a vivid leitmotif associated with personal sacrifice. The hard-bitten Itliong (baritone Rolfe Dauz) declaims in short, punchy bursts of tough-guy dialogue; Nixon (tenor Sam Faustine) sings a glib, slightly nauseating waltz. There are mariachi strains and potent choruses, a sweetly ingratiating duet for Dolores and Ethel Kennedy (soprano Chelsea Hollow) in which they bond over the tribulations of motherhood, and a sudden burst of horrifying noise in the aftermath of Kennedy’s assassination.”
By Michael Zwiebach
West Edge Opera unveiled another triumphant world premiere, opening its season with Nicolás Lell Benavides and Marella Martin Koch’s opera “Dolores.” Telling the story of a pivotal year in the life of labor activist Dolores Huerta, the show is dramatically tight and musically transporting — a work made to last, though it’s also undeniably timely.
…
“Dolores”has the frisson of a masterfully paced thriller — there’s not an extra word sung. Benavides’ score keeps the story on the boil with sharp rhythms in the vocal lines, and a gamut of styles and emotions. The composer and librettist are not above adding comedy and dance into the mix…. Benavides’ orchestration sounds much more opulent than its 15-player ensemble would suggest. His accompaniments are varied but also rhythmically layered, and conductor Mary Chun extracted every ounce of juice from this expansive score.
By Michael Anthonio
“There was a lot to recommend in Benavides’ music, from his assured mode of juggling many musical genres (jazz, musical theater, Latin, and even mariachi influences), his unusual scoring for the tiny orchestra (which included electric guitar), and, particularly, his ability to achieve a balance between the heavy and light moments by peppering the score with many humorous and almost comical scenes…”
By Alex Heigl
Composition grad Nicolás Lell Benavides is behind the opera, which features five SFCM alumni in seven of the opera's main roles.
By Tom Jacobs (cross post with SF Classical Voice)
The nation is tense, and California’s Central Valley farm fields have become an unlikely flash point. The workers — mostly immigrants — who harvest the fruits and vegetables that feed much of the country are scared and angry. They labor to the point of physical exhaustion for low pay. Protests against these conditions are organized and soon gain widespread support.
This may sound like a dispatch from the front lines of 2025, a year that’s been marked by the Trump administration’s immigration raids and arrests across the state’s agricultural industry. But it’s also the historical backdrop for Dolores Huerta, who in the mid-1960s spearheaded a nationwide boycott of table grapes in solidarity with striking farmworkers. Alongside fellow labor leaders Cesar Chavez and Larry Itliong, she played an integral role in the era’s civil rights movement.
By Michael Zwiebach
West Edge Opera unveiled another triumphant world premiere, opening its season with Nicolás Lell Benavides and Marella Martin Koch’s opera “Dolores.” Telling the story of a pivotal year in the life of labor activist Dolores Huerta, the show is dramatically tight and musically transporting — a work made to last, though it’s also undeniably timely.
…
“Dolores”has the frisson of a masterfully paced thriller — there’s not an extra word sung. Benavides’ score keeps the story on the boil with sharp rhythms in the vocal lines, and a gamut of styles and emotions. The composer and librettist are not above adding comedy and dance into the mix…. Benavides’ orchestration sounds much more opulent than its 15-player ensemble would suggest. His accompaniments are varied but also rhythmically layered, and conductor Mary Chun extracted every ounce of juice from this expansive score.
By Emma Garcia
Watch our first opera dispatch! Labor rights icon Dolores Huerta is commemorated in a new opera at @westedgeopera in Oakland, CA. Written by @NLBenavides and @marellawrites, the production opened August 2 and returns August 10 & 16. It tells the story of Dolores’ leadership in the 1968 Delano Grape Strike. We spoke with doloreshuerta about today’s fight for justice and asked composer Nicolás Lell Benavides how opera connects to Mexican cultural traditions.
By Caroline Crawford
“…In West Edge’s premiere, created in collaboration with BroadStage in Santa Monica, Opera Southwest, San Diego Opera and Campo Santo at The Magic Theatre, composer Nicolás Lell Benavides’ pulsing, percussive, melodic music drives the point home. The persistent theme performed by a 16-piece orchestra led by Mary Chun has the tonal heft of a constant march which the excellent chorus brings home again and again… “
By Michael Strickland
“…Benavides is an extraordinarily sophisticated composer and he offered up complex, varied music that was performed brilliantly by a 16-person chamber orchestra led by conductor Mary Chun.”
COVER STORY By Janis Haashe for East Bay Express and East Bay Magazine
At 95, Dolores Huerta could rest on her laurels with no reproaches. Labor leader, tireless fighter for immigrant rights and civil rights, as well as feminist, Huerta has continued her work for decades.
But, said Nicolás Lell Benavides, composer of the new opera, Dolores, Huerta knows there is always more to do. The fight for justice is ongoing. And even when a life-altering tragedy occurs, Huerta does not give up, but finds a way to persevere…
By Georgia Rowe
It’s been years in the making, but West Edge Opera is finally presenting the world premiere of “Dolores” — and the opera’s namesake, the renowned activist and labor leader Dolores Huerta, will be in the audience to experience her story on an operatic scale.
A West Edge Opera commission created by composer Nicolás Lell Benavides and librettist Marella Martin Koch, this new work traces the remarkable life of Huerta, who co-founded the National Farm Workers Association, coined the phrase “Sí se puede” (Yes we can), and has been a lifelong champion for workers’ rights. The West Edge production is directed by Octavio Cardenas and conducted by music director Mary Chun.
Watch clip on NBC Bay Area, featuring mezzo-soprano Kelly Guerra singing the role of Dolores.
By Charlise Tiee
“West Edge Opera gave the world premiere of Nicolás Lell Benavides' Dolores yesterday in Oakland. Set in 1968, the opera is about labor leader Dolores Huerta during the Delano Grape Strike. The piece is timely, moving, and, at times quite funny.
The music has a lot of interesting textures, and Maestra Mary Chun kept everyone together. There was a particularly lovely viola solo near the end of Act I with the title character singing alone. The pacing is good, everything moves at a fine clip.”
By Andrew Gilbert for KQED.
A New Dolores Huerta Opera Brings a Labor Struggle to the Stage
A landmark labor struggle might seem like difficult terrain to explore in an opera, but Long Beach-based composer Nicolás Lell Benavides knew that he had a riveting tale to tell in Dolores.
…
By Tom Jacobs (cross post with SF Chronicle)
The nation is tense, and California’s Central Valley farm fields have become an unlikely flash point. The workers — mostly immigrants — who harvest the fruits and vegetables that feed much of the country are scared and angry. They labor to the point of physical exhaustion for low pay. Protests against these conditions are organized and soon gain widespread support.
This may sound like a dispatch from the front lines of 2025, a year that’s been marked by the Trump administration’s immigration raids and arrests across the state’s agricultural industry. But it’s also the historical backdrop for Dolores Huerta, who in the mid-1960s spearheaded a nationwide boycott of table grapes in solidarity with striking farmworkers. Alongside fellow labor leaders Cesar Chavez and Larry Itliong, she played an integral role in the era’s civil rights movement.
By Joshua Kosman (On a Pacific Aisle)
At a time when the political situation in the United States can seem intractably hopeless, perhaps we could all use a bit of uplift. Or at any rate, we could use a reminder that although things have looked bleak before, some visionaries seized the moment to forge a popular resistance even in the face of daunting obstacles. And that at least one of those people still walks among us!
Dolores, a new opera by composer Nicolás Lell Benavides and librettist Marella Martin Koch that’s scheduled for its world premiere next month with West Edge Opera, promises something along these lines. It’s a musical and theatrical portrait of Dolores Huerta, the legendary labor leader and civil rights activist who co-founded the National Farm Workers Association, helped spearhead the Central Valley strikes of the 1960s and ’70s, and coined (or at least popularized) the slogan “¡Sí, se puede!”
By Janis Haashe for East Bay Magazine (cross posted with East Bay Express)
At 95, Dolores Huerta could rest on her laurels with no reproaches. Labor leader, tireless fighter for immigrant rights and civil rights, as well as feminist, Huerta has continued her work for decades.
But, said Nicolás Lell Benavides, composer of the new opera, Dolores, Huerta knows there is always more to do. The fight for justice is ongoing. And even when a life-altering tragedy occurs, Huerta does not give up, but finds a way to persevere…
With operatic flourish, activist Dolores Huerta and younger cousin receive USC doctorates on same day
COMMENCEMENT: Hers is an honorary degree; his is a doctorate of musical arts. The conferral is a prelude to an operatic interpretation of Huerta’s remarkable life, which the composer calls “a microcosm of loss and perseverance.”
Librettist Marella Martin Koch and I were featured in an article in East Bay Magazine about our newest opera, “Dolores”, commissioned through West Edge Opera.
“West Edge Opera has commissioned composer Nicolas Lell Benavides and librettist Marella Martin Koch to write “Dolores,” an opera about the labor organizer and activist Dolores Huerta.
The piece is scheduled for a premiere in 2023…”
Joshua Kosman, San Francisco Chronicle