Essaying Escamillo

Carmen is one of the most recognizable operas in the world. Many opera companies produce it because it is a guaranteed crowd pleaser, is filled with tunes that linger in the memory and offers a wealth of great vocal and dramatic moments for the artists playing these iconic parts.

In a previous post, I mentioned that I was excited (and surprised) to be offered the role of Escamillo mainly because of my own perceptions of what I think Escamillo looks and sounds like. During my preparation I found the role still felt foreign to me as it didn’t slip into my voice with ease and trying to capture the character’s swagger seemed to elude me. I wasn’t sure if this was a case of mind over matter where I just needed to keep at it or one of me just accepting the wrong role. Further investigation was needed.

The role of Escamillo challenges all lower male voice singers in that is sits low, high and right in the middle with just enough frequency that any baritone, bass-baritone or bass gets fooled into thinking it’s an easy sing. The aria alone is a masterful combination of melodic inventiveness and thrilling vocal bravado. It requires a singer with a voice that has thrust, ease in and out of its registration and a large dose of machismo. The character also has to be completely grounded with swagger while also being elevated and oozing with sexual charisma. That is of course a tall order, especially if you feel that these qualities play opposite of your personality.

Going into the first two rehearsals, I was fortunate that Long Island Opera provided us with a fanstastic music director and also a great French diction coach extraordinaire whose jobs are to not only refine our musical style, pronunciation, but they have such amazing insights into the opera, the characters and vocal technique that I finally feel like I am getting a grasp on all things Escamillo. On a side note, our French diction coach has put us through our paces and doesn't let anything get through the cracks. With her smarts (and whip!), I am getting quite confident in my role.

I have sung Escamillo every day and he is becoming clearer (literally and figuratively) and I actually BELIEVE I can do it! I often marvel at actors who undergo a physical transformation, study for months on end to perfect a new language, dialect or physical feat and hurl themselves into a new role that is outside of their comfort zone all in order to challenge their own artistic abilities. That is exactly how I feel about Escamillo. I am working on finding his voice, his swagger and his overall being. Soon we will start working with the stage director so I am looking forward to her adding more insight into my journey into this man who is virile, full of daring and has some of the greatest music of any baritone role.

I’ll let you know how it goes!


Peace,
Eric