“Love Trances Through Interwoven Dimensions”
Work: Wayra aux Indes parallèles
Composer: Juan Arroyo
Duration: 25 minutes
Instruments: 1 mezzo-soprano, 2 fl, 1 cl, 1 perc, 1 harp, 2 vln, 1 vla, 1 vlc
The opera-ballet The Gallant Indies (1735-1736), composed by Jean-Philippe Rameau, with a libretto by Louis Fuzelier, has been my source of inspiration for writing the four love songs of “Wayra in the Parallel Indies.” Particularly the second entry of The Gallant Indies, entitled The Incas of Peru. During this entry, the character of Phani-Palla, a young Inca princess, invokes the gods to free her from Huascar, priest of the sun, and allow her to join Carlos, the conqueror whom she loves so much. During the action, Huascar lies to Phani-Palla, claiming that she is the chosen one to join him. In the denouement of The Incas of Peru, Huascar is punished by the gods because of his lies and dies swallowed by a volcano. Finally, Phani-Palla and Don Carlos make their wish of union come true. But what would happen if Phani-Palla had the possibility of living in parallel realities? Would she make the same decision in each one? Would she wait for the will of the gods? Would she sing for the love of Don Carlos? These are the questions that sparked my imagination. By deconstructing Phani’s Aria, its baroque exoticism, its love subject to the desire of gods and men, its melodic line and its language, Phani-Palla, whom I renamed Wayra, offers four new realities to her character. In these new realities, Wayra is no longer just an object of desire and manipulation, but she becomes a symbol of strength, resilience, and equality. She defies the expectations imposed by men and gods, asserting her right to choose her own destiny and seeking equality in each reality. Wayra sings not only for love, but also for her own freedom and power as a woman.