Inebria Me

It's a New York summer for me – I'm currently in rehearsals as assistant conductor to composer-conductor Whitney George for her upcoming opera No Man's Land at Irondale in Brooklyn June 17 and 18. More on that soon! While in town, I had the opportunity to attend closing night of Los Angeles-based composer, musician, and performance artist San Cha's utterly captivating experimental opera Inebria Me at Performance Space New York. I was really taken by the music, the fluidity of the narrative, the striking visuals, and the power of the story itself. Thank you to San Cha for responding so thoughtfully to my questions – west-coast friends take note of the upcoming fall tour of Inebria Me! Dates are listed at the end of this Q&A.

Anna Heflin: Your experimental opera in 3 acts, Inebria Me, is an adaptation of your 2019 album, La Luz de la Esperanza. First of all, the music is entirely captivating and enchanting so I’m grateful to experience it in multiple ways. I’m noticing a substantial transformation between the two – which you indicate by giving the opera a different name – in instrumentation, song/aria order, and storytelling. Prettiest Thing, for example, comes much later in the opera and has a distinct dramaturgical meaning. How did the material transform, or develop, for you into Inebria Me? 

San Cha: The initial attempt at adapting La Luz de la Esperanza into an opera in July 2024 faced significant artistic differences, leading to its dissolution. This setback, however, proved to be a catalyst for a deeper, more personal exploration. I embarked on a journey to reimagine the narrative, asking myself how to authentically translate my own story onto the operatic stage. This involved intensifying the queer themes, particularly the relationship between Esperanza and Dolores, and granting distinct voices to the sister characters, while minimizing the Salvador figure. Additionally, I sought to delve into the religious motifs that have deeply influenced my family history.

Ultimately, I decided the opera should commence with the wedding scene. Guided by my Creative Director, Gerardo Gonzalez, and dramaturg, William Ruiz Morales, I integrated flashback sequences to enhance the fantastical elements and disrupt the linear structure. The process felt akin to assembling a complex puzzle or building with Legos. Incorporating confessions became crucial, revealing the characters' true motivations and allowing the narrative to organically emerge once the pieces were rearranged.

AH: I appreciated the clear yet fluid arc of your opera and the Dramaturg’s Note (which outlined the plot act by act). I’m from Los Angeles and understand a little Spanish, but not much, and the note helped guide me through the essential aspects of the drama while appreciating the music and the sound of the words. Supertitles are a common practice in many mainstage/traditional operas, and I’m curious if in future iterations of Inebria Me if that’s something that you feel would add or take away from the experience.

SC: Yes! Supertitles are definitely something we are thinking of incorporating for future iterations!

AH: The cast was really exceptional, and it felt like their musical strengths were brought to the fore. I’ve never seen someone sing and (separately) play flute as expertly as Lu Coy, for example, who played Madre Jutta. How did you assemble your cast? Did you know many of them prior to the opera?

SC: My casting process was a true labor of love, drawing from years of artistic connections. Lu Coy, a longtime collaborator of eight years, is a phenomenal multi-instrumentalist, a true diva who seamlessly moves between vocals, alto sax, clarinet, and flute. They are also featured in the earlier iteration of La Luz de La Esperanza. Darian Donovan Thomas, whose work I've admired with artists like Balún and Arooj Aftab, was a perfect fit for arranger and music director. He then brought in Phong [Tran], who enriched the electronic synth textures. Dorian Wood, a mentor and fellow singer who encouraged my artistic vision, was the obvious choice to embody Esperanza, a character originally envisioned as a light source. stefa [marin alarcon] and Carolina [Oliveros] are dear friends and artists I’ve long admired and collaborated with in various capacities. It was truly a gathering of divas—musicians and vocalists whose artistry and spirit deeply resonate with me.

AH: What did your collaboration look like with director/music director/arranger Darian Donovan Thomas? I loved how the instrumentalists also had roles, by the way. 

SC: It wasn't enough to have just one nun; we needed a full convent band! When Darian and I confirmed our collaboration in early 2024, I was also granted a residency at Ballroom Marfa. This serendipitous timing allowed us to dive into the creative process. It was there, amid the West Texas landscape, that our opera truly began to breathe. We established a modest workshop—Darian with his array of pedals and violin, and myself diving deep into Logic and Ableton. Though I may not have the formal conservatory training in music theory that Darian possesses! While Darian is a master of music theory and notation, we both spoke the language of digital audio. He was deeply invested in the story's development, and we had an incredibly free-flowing, joyful week of creation. That energy propelled us through two subsequent residencies at MACLA in San Jose and Denniston Hill, where the full ensemble – Darian, Phong, Lu, and myself – elaborated upon the musical architecture of the entire opera.

AH: Dorian Wood played the role of Esperanza – “an angelic, genderless being of light and heat” that offers Dolores (you) a flower of sustenance following the fall of her marriage. Fitting for the character and their ethereal quality, Esperanza is nude for the duration of the opera and adorned with face/body makeup and a feather headdress. There’s a history of nudity in opera – recently Anthony Roth Costanzo (who was present at your performance) made a lot of headlines for his role in Akhnaten. Your character also had a moment of undressing at the end of the performance as she claimed her own life. These choices are political as well as artistic, and I’m wondering if you could talk about them. I’m also curious about cell phones – I noticed a few people did have phones out, which I would have been bothered by even if they were taking pictures out of enthusiasm. But was that expected?

SC: Dorian’s comfort with nudity was a key element, aligning with their established performance practice. This informed Esperanza’s visual presentation, which emerged organically from Dorian’s own artistic language. My upbringing within a stringent Mexican Catholic milieu, where bodily shame was enforced, directly fuels this element of our production. It's an act of personal revolt. Having been confined to traditional feminine roles, I envisioned Dolores' disrobing as a visceral reclaiming of her bodily autonomy. To shed her garments before the audience is to join with the nude angel/demon of light, asserting her agency in the most profound way.

As for the presence of cell phones, I find it utterly charming. The online sharing, the tags on social media—it’s all part of the conversation surrounding the work. Perhaps it's my experience in less formal performance contexts, but I find a certain validation in witnessing audience members so engaged that they want to share a piece of the experience. It's akin to an immediate, digital applause—a direct reflection of their reaction and enthusiasm, which I genuinely appreciate.

AH: I’m more familiar with operas than telenovelas – and to me this story harkens back to many longstanding themes in opera. What are the parallels between opera and telenovela for you and when were you inspired to enmesh and queer them?

SC: For me, the through lines between telenovelas and opera are undeniable. It’s the sheer scale of emotion, the stark contrast between the gilded cages of the wealthy and the struggles of the poor. And let's not forget the grand theatrics—that glorious over-the-topness that both art forms embrace! To be perfectly honest, Inebria Me began as a telenovela set to music in my imagination. It was others who started using the word 'opera,' which initially intimidated me. I didn't consider myself 'qualified' to be an opera singer or composer, and 'librettist' was a foreign term. But the truth is, that's exactly what it became, and it absolutely deserves to be acknowledged and treated as such.

Ultimately, I wanted to dissect and expose the 'romantic' tropes often presented in both telenovelas and operas—those toxic and machista traits that are disguised as passion. It's a critical lens on those narratives.

AH: The chains in the set were striking and effective as set objects and props – when did chains as a concept enter the world of the production? Did you share inspirations with scenic designer Anthony Robles?

SC: In my mind's eye, I envisioned Dolores bound, both physically and metaphorically. I saw these two oppressive pillars, almost like twin guardians, entrapping her. When I shared this initial concept with Anthony Robles, our brilliant scenic designer, he took those ideas and transmuted them into his crucifix design. And then came the masterstroke—he suggested chains. It was like he unlocked something essential. What Anthony created wasn't merely decorative; it was a world that felt truly oppressive, brutally honest, minimalist, and stripped bare of any unnecessary artifice. He understood the weight I wanted to convey—that sense of being shackled, both to circumstances and perhaps to one's own inner turmoil.

AH: Inebria Me is having a West-Coast tour this Fall! Where can readers find out more about that?

SC: These are the dates that should be announced soon through each organization:

I'm thrilled to announce that Inebria Me is embarking on a West Coast tour this Fall! Mark your calendars for these performances:

Portland, Oregon:

As part of the Portland Institute for Contemporary Art's Time-Based Art Festival, co-presented with Boom Arts, we'll be performing on September 5th and 6th. The exact venue is still being finalized, but stay tuned for updates.

Seattle, Washington:

We'll be at On the Boards for three performances: September 11th, 12th, and 13th.

Los Angeles, California:

Join us at REDCAT for performances on October 16th, 17th, and 18th.

For the most up-to-date information and any venue announcements, please visit my website: https://www.churchofsancha.com/ or follow me on Instagram: @__san_cha__