The opera-ballet Las Indias Galantes (1735-1736), composed by Jean-Philippe Rameau, with a libretto by Louis Fuzelier, has been the source of inspiration for the writing of the four love songs of “Wayra in the Parallel Indies”. Particularly the second entry of Las Indias Galantes, entitled Los Incas del Perú.
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 Los Incas del Perú, 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 Arroyo’s imagination. 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, renamed Wayra, offers four new realities to her character.
Arroyo explains that her Wayra in the parallel Indies is a tribute to love and its multiple forms rather than a return to baroque music or the music of the Incas.
The world premiere of Wayra aux Ines parallèles took place on May 10, 2024 by the Regards ensemble at the Aux Chandelles 2024 festival, France