Music as a Server of Drama in the Operetta “El cóndor pasa…” (The Condor passes…) by Daniel Alomía Robles

• Autor: Ruiz-Pacheco, Luis Fernando
• Formato: artículo
• Fecha de Publicación: 2024
• Institución: Universidad Nacional de Música
• Repositorio: UNM-Antec
• Lenguaje: español
• OAI Identifier: oai:revistas.unm.edu.pe:article/215
• Enlace del recurso: https://revistas.unm.edu.pe/index.php/Antec/article/view/215
• Nivel de acceso: acceso abierto
• Materia: The Condor passes; Music; Drama; Daniel Alomía Robles; Julio Badouin; El cóndor pasa; Música; Julio Baudouin

Inside the academic Peruvian repertoire, the most known musical pieces are the Pasacalle and Cashua (two Indigenous dances) of the operetta “El cóndor pasa…”, premiered in 1913; the lyrics and music were written by Julio de la Paz (also known as Julio Baudouin), and Daniel Alomía Robles, respectively. Currently, these dances are taken as the most representative pieces of Peruvian music and as a second anthem in Perú. Furthermore, these have been performed by a lot of artists and some of them have added lyrics to these melodies although are apocryphal. Nevertheless, this great diffusion of Pasacalle and Cashua around the entire world induced listeners to decontextualize those pieces and ignore the relation between music and script and the role of music as a server of drama. This article examines papers and dissertations about the social criticism inside El cóndor pasa… and historical and musical analysis of the operetta. It also investigates the relationship between Daniel Alomía Robles’ music and Julio Baudouin’s libretto. In consequence, this article briefly explains how the problem started, the El cóndor pasa… argument and plots involved, its composition context and how music composed by Alomía Robles serves to drama.