San Cha upends telenovela paradigms in new experimental opera ‘Inebria me’

For Los Angeles-based musician, composer and artist San Cha, the Spanish language is a creative goldmine. “One of my favorite Spanish words is ’embriágame,’ which I think the direct translation is ‘gets me drunk’ or ‘gets me drunk,'” she says. “I love That word. I think there’s a song by Thalia that has that word in it, called ‘Piel Morena,’ and every time she says that, I say–“That’s it“”

San Cha talks about her latest work “Inebria me” before its release Premiere in Los Angeles Thursday In REDCAT, Inside the Walt Disney Concert Hall complex. “Inebria me” is a 90-minute experimental opera that expands on her critically acclaimed 2019 “ranchera fusion” album, “La Luz de la EsperanzaSan Cha plays Dolores, the unassuming bride of wealthier El Salvador, whose jealousy turns murderous; enter Esperanza, a genderless spirit of empowerment who helps light Dolores’ path to freedom.

After I moved on from singing ranchera in Mexico City restaurants Experimenting with the Bay Area’s underground drag scenes, San Cha has developed a knack for assembling disparate influences that result in striking, thought-provoking work. Born Lisette Gutierrez in San Jose to Mexican immigrants, San Cha grew up compensating for her intense Bible study by binge-watching soap operas after school. This is evident in Inebria me, which uses the classic narrative structure of the series, but with a strange twist. “I wanted to get pregnant [onto] Strangeness [the story] and “The religious aspects of it,” she says.

The opera is San Cha’s latest collaborative effort. She has previously been linked to a range of artists — including La Doña, Rafa Esparza, Yessica Salgado, and even country singer Kacey Musgraves, whose San Cha appears in the film. Pivotal moment From her 2021 visual album “Crossed starDarian Donovan Thomas also stars in Inebria me, alongside Stefa Marin Alarcón, Le Cui, Kyle Kidd, Carolina Oliveros, and Phuong Tran.

In our recent interview, she discussed developing her music for the stage and what it took to build the confidence to champion her original vision on her own.

This interview has been edited and condensed for clarity.

When did you get the idea to adapt “La Luz de la Esperanza”?
That actually came about in 2023 or 2024 when I partnered with the National Performance Network for this scholarship. I started talking with the Portland Institute of Contemporary Art, which was already a member, and with the Performance Center in New York. Like, what do I need to do to make this work?

Did you have experience with traditional theater growing up?
No, I didn’t. I also haven’t watched a lot of movies. I missed a lot of those American experiences. People would be like, “Do you know this movie?” And “It’s like a classic,” and it’s like “No.” I was really protected, you know, “I’m here to study the Bible” kind of thing.

Has anyone in your family seen this piece? If so, what were their comments?
My parents saw a demo version of this piece in San Jose, my hometown. They saw the PG-13 version, which I would say, and my mom was confused; I don’t even know how my father felt. My mother’s only comment was, “You didn’t sing ranchera. Everyone wants you to sing ranchera.” I said, “Oh my God.” So they also came to the closing night with a big group, and I sang the ranchera song for them at the end.

How do you relate “Inebria me” to what is considered “traditional” opera?
I would say it has a very clear narrative… everything is sung, except for the parts [where] The man [is] speak or talk.

I sing ranchera [and] This kind of blends into soap operas. I didn’t grow up being an opera singer, or wanting to be an opera singer, but somehow I evolved in that direction. In this one, we get to be all things: a little bit of hardcore, a little bit of pop, a little bit mixed with opera.

Where did the idea of ​​bringing TV series come from?
I wanted to make a telenovela with music. And because I’d never watched a weird series before… I was just like, I want to make the series and set it to disco music… something electronic and glam. He – she [speaks to] The illusion of brilliance, underneath it all is ugly and twisted.

What is your first memory of watching a telenovela?
There are many. I was watching kid’s TV series. But there’s one in particular… It’s where Lucero, a huge pop star in Mexico, plays three versions of herself, so it’s a triptych. And there is one [version] This is very evil. I still remember, [the characters] It will become very BDSM… like locking people up! When I was a kid, I used to feel like… “Why am I watching this? I’m a kid!”

You’ve talked about the instrumental role drag queens have played, especially at the beginning of your career. Queer culture and drag culture have entered mainstream popular and youth culture on the one hand, but remain demonized on the other. How do you reconcile these two extremes in your work?
I think visibility doesn’t always equal safety or acceptance. I remember being in San Francisco and seeing drag that was less polished and more on the fringe side of it.

I…I kind of hated it when I got to L.A. and how polished everyone was. But when I saw a rerun of “RuPaul’s Drag Race” on VH1, I thought to myself, “This is literally life-changing.” How wonderful that this has become a trend!

In a previous interview, I discussed sin and guilt as themes of this work. Many artists have explored this theme in different ways across different cultures and times. Why do you think thoughts about guilt and sin have such power over us?
You were created to do what you don’t want to do [people] Which makes you feel ashamed of the ways you behave. And in [“Inebria me”]Each of the sisters has a confession, and I wanted to make that a focal point – with the nun, the religious person.

In TV series, there is always a priest [they] Talk to them when they have problems, you know? And I believe in [Catholic practice of] Admit it, it’s important to relieve yourself of shame and guilt. But it’s like you’re comforting yourself And then You feel ashamed, you know? This is the part that stops growth, development and freedom.

For someone whose first impression of “Inebria me” was that it wasn’t for them, what do you think they’d be surprised to discover or what item they’d enjoy?
Everyone in this piece is a star, everyone is a diva. I think they all really shine on their own, and they really do so through their acting. Their voices are all incredible, and their stage presence. Maybe they could have involved the scene design by Anthony Robles – it’s so simple, but it does so much for the space in creating this oppressive world. I think there is something for everyone. It’s a story that a lot of people can relate to.