Hariclea Darclée, claim the Diaguitas inhabiting the different Transverse Valleys spoke different languages. Jesuits active in western Argentina also report a large number of languages for the region. Nevertheless, the Chilean Diaguitas scholar Herman Carvajal claims that they could very well have spoken different dialects instead, which would have differed among each other mainly regarding their lexicon. Cacán was proposed by Rodolfo Schuller and Ricardo E. Latcham to be the single language of the Diaguitas. This proposal has been questioned by some scholars but is accepted by others, like Sergio Villalobos. History. The origin of the Diaguita culture is traced back to 	Diaguita
24846545	an archaeological culture known as El Molle complex which existed from 300 to 700 CE. Later this culture was replaced in Chile by the Las Ánimas complex that developed between 800 and 1000 CE. It is from this last culture that the Archaeological Diaguita culture emerged around 1000 CE. The classical Diaguita period was characterized by advanced irrigation systems and by pottery painted in black, white and red. Mapuche communities in the southern Diaguita lands – that is Petorca, La Ligua, Combarbalá and Choapa – may be rooted in Pre-Hispanic times at least several centuries before the Spanish arrival. Mapuche toponymy 	Diaguita
24846546	is also found throughout the area. While there was an immigration of Mapuches to the southern Diaguita lands in colonial times Mapuche culture there is judged to be older than this. Indeed in 1954 Grete Mostny postulated the idea of a link between Mapuches and the archaeological culture of El Molle. This idea was followed up by Patricio Bustamante in 2007. It has been claimed that the Inca Empire expanded into Diaguita lands because of its mineral wealth. This hypothesis is currently under dispute. Another possibility is that the Incas invaded the relatively well-populated Eastern Diaguita valleys to obtain 	Diaguita
24846547	labor to send to Chilean mining districts. It is generally accepted that Diaguita incorporation into the Inca Empire was through warfare which caused a severe depopulation in the Transverse Valleys of Norte Chico. According to scholar Ana María Lorandi the Diaguitas, and specially the Calchaquí Diaguitas, would not have been conquered easily by the Inca Empire. Once conquered the eastern Diaguitas did not unanimously accepted Inca rule. The Incas appointed kurakas and established mitmas in the Chilean Diaguita lands. The Incas did also influence the Diaguitas who adopted pottery designs from Cuzco and Inca techniques in agriculture and metalworking. The 	Diaguita
24846548	Chilean Diaguitas were conquered by Spaniards coming from Peru. The eastern Diaguitas lands were explored by Spaniards coming from Chile, Paraná River and Peru. The Spanish initially failed to conquer the fertile valleys inhabited by the Eastern Diaguitas and could only control the eastern valley ends. By founding the cities of Santiago del Estero (1550s), Tucumán (1565), Salta (1582), La Rioja (1591) and Jujuy (1593) the Spanish established an effective fence around the rebellious Eastern Diaguita valleys. To further dominate the Diaguitas the city of Londres was founded in 1607 in the middle of the Eastern Diaguita territory. During the 	Diaguita
24846549	government of García Hurtado de Mendoza in Chile (1557–1561) Chilean Diaguitas that had rebelled were decimated by the Spanish. The Calchaquí Diaguitas of the eastern side of the Andes rose against Spanish rule in 1630 and the last rebels fought until 1642–1643. In this rebellion the Spanish city of La Rioja was close to be destroyed. The Calchaquí Diaguitas only entered Spanish rule after 1665. Diaguita The Diaguita people are a group of South American indigenous people native to the Chilean Norte Chico and the Argentine Northwest. Western or Chilean Diaguitas lived mainly in the Transverse Valleys which incised in 	Diaguita
24846550	Hariclea Darclée Hariclea Darclée Hariclea Darclée (née Haricli; later Hartulari; 10 June 1860 – 12 January 1939) was a celebrated Romanian operatic soprano who had a three-decade-long career. Darclée's repertoire ranged from coloratura soprano roles to heavier Verdi roles, including many in the Franco-Italian lyric repertory. Throughout her career she participated in several world premieres, creating the title roles in Giacomo Puccini's Tosca", Pietro Mascagni's "Iris", and Alfredo Catalani's "La Wally". Puccini reportedly considered her to have been "the most beautiful and exquisite Manon". Enciclopedia dello Spettacolo, regarded as the most comprehensive international performing arts encyclopedia , named Darclée "world's greatest singer for 25 years". Darclée was considered the equivalent, in the opera world, of Sarah Bernhardt. Early years. Darclée was born Hariclea Haricli in Brăila to a family with Greek roots. Her father, Ion Haricli, was a landlord in Teleorman County. Her mother, Maria Aslan, was a relative of the noble Mavrocordatos family. The family lived for a while in the town of Turnu Măgurele in southern Romania. She began her studies at Conservatoire of music in Iași, making her professional appearances as a concert performer in 1884. Career. She continued her studies in Paris  under Jean-Baptiste Faure. She married a young officer, Iorgu Hartulari, and became known for a while as Hariclea Hartulari-Darclée, Darclée being the "nom de théâtre" she adopted when she made her debut at the Paris Opéra in 1888 as Marguerite in Charles Gounod's "Faust". In 1889, she replaced Adelina Patti as Juliette in Gounod's "Roméo et Juliette", to increasing acclaim. In 1890, Darclée scored a great success in her La Scala debut as Chimène in Jules Massenet’s "Le Cid", and was immediately engaged by all the leading Italian theatres. Highlights of her later career in  Italy from 1890 on included the world-premières of the part of Odalea in Antônio Carlos Gomes' "Condor" at La Scala in Milan in 1891, the title-role in Alfredo Catalani's "La Wally" at the same theater in 1892, Luisa in Pietro Mascagni's "I Rantzau" at the Teatro della Pergola in Florence in 1892, and the title roles in Pietro Mascagni's "Iris" and Giacomo Puccini's "Tosca", both at Teatro Costanzi in Rome in 1899 and 1900, respectively. Between 1893 and 1910 she appeared frequently in Moscow, Saint Petersburg, Lisbon, Barcelona, Madrid, and Buenos Aires. She was  very popular in Spain and South America, where she participated in many local premières of new operas by Puccini, Mascagni, and Massenet. Among the many roles she portrayed are Gilda in "Rigoletto", Ophélie in "Hamlet", Valentine in "Les Huguenots", Violetta in "La traviata", Desdemona in "Otello", Mimì in "La bohème", Santuzza in "Cavalleria Rusticana", and the title roles in "Manon", "Manon Lescaut", "Aida", and "Carmen". The last performance of her career was as Juliette in "Roméo et Juliette" at the Teatro Lirico in Milan in 1918. Personal life. Darclée's son was composer (1886–1969), who was known particularly as a  writer of operettas. Both she and her son are interred in Bucharest's Bellu Cemetery. Legacy. The 1961 Romanian film Darclee, directed by Mihai Iacob and starring , is based on her life story. Started in 1995, the "Hariclea Darclée" Festival and International Voice Competition is held every two years in Brăila. Repertory. Hariclea Darclée sang 58 roles on 56 operas (32 operas of tradition, 12 in absolute première, and 16 operas in important premières) by 31 composers (12 composers of the tradition and 19 young composers with new operas interpreted in absolute première); this artist occupies a singular position in  the universal history of the opera: Hariclea Darclée Hariclea Darclée (née Haricli; later Hartulari; 10 June 1860 – 12 January 1939) was a celebrated Romanian operatic soprano who had a three-decade-long career. Darclée's repertoire ranged from coloratura soprano roles to heavier Verdi roles, including many in the Franco-Italian lyric repertory. Throughout her career she participated in several world premieres, creating the title roles in Giacomo Puccini's "Tosca", Pietro Mascagni's "Iris", and Alfredo Catalani's "La Wally". Puccini reportedly considered her to have been "the most beautiful and exquisite Manon". Enciclopedia dello Spettacolo, regarded as the