In this article, the opera Lautaro (Chile, 1902) by Eliodoro Ortiz de Zarate is analyzed in search of elements that construct identities. Through the review of different structures of musical parameters, identification of musical motifs and their operation in the work, it is possible to recognize the mechanisms of representation of the indigenous and Spanish subjective identities in opera. It is proposed that the musical construction of identities is linked to Latin American nationalist movements in which indigenous figures were presented as a differentiating element of the European tradition.