In 2017, Carmen-Helena Téllez received an invitation by Chia Patiño, stage director, and Executive and Artistic Director of the Teatro Nacional Sucre of Ecuador to read sketches left behind by the late Ecuadorian composer and popular musician Don Segundo Cóndor for an Andean orchestral version of Mozart’s opera The Magic Flute. Maestro Condor’s sketches were quite incomplete, but he clearly had envisioned a transcription of the full texture of the opera for the Orchestra of Andean Instruments of Ecuador, in residence at the Teatro Sucre, and not an abridgment and arrangement into the popular genres for which he was so famous. Carmen proceeded to revise and complete the transcription for an orchestra that includes Andean flutes, such as quenas and zampoñas, charangos, mandolines, tiples, guitars, marimbas, percussion and harpsichord. She workshoped the score in a laboratory that included contributions by the composers affiliated to the Orquesta de Instrumentos Andinos Tadashi Maeda, Leonardo Cárdenas, Giovanny Sanchez y Marcelo Beltrán. La Flauta Magica de los Andes was premiered at the Teatro Nacional Sucre of Quito n June 2018. It was performed again as the inaugural event of the conference of Opera Latinoamérica (OLA) in October of the same year.
The text of Die Zauberflöte was translated into Spanish and Kechwa by Chía Patiño. She established a successful parallelism between Mozart’s masonic narrative and Andean mythology without any alteration of the original drama or meaning.
Overture from La Flauta Mágica de los Andes, an adaptation of Mozart’s Die Zauberflöte for an orchestra of Andean instruments by Carmen-Helena Téllez, on a libretto in Spanish and Kechwa by Chía Patiño. Performed at the Teatro Nacional Sucre of Quito, with the Orquesta de Instrumentos Andinos, Carmen-Helena Téllez, conductor.
The score of La Flauta Mágica de los Andes is the property of the Fundación Teatro Nacional Sucre. Carmen is preparing an original chamber version to be announced here at a later stage.