Escamillo Carmen

Posted : admin On 1/25/2022

Let’s say that Carmen, Don Jose, Escamillo and the other characters were actual people who lived and loved in Seville in 1874 or so. Let’s say there really was a love triangle that worked like this: Carmen “dated” Don Jose for a little while, but he bored her. He was too naive – a country boy who didn’t “get it.” Too clingy. The Threepenny Carmen walks a thin line between lust and death in one of opera’s most iconic love triangles. Starring Megan Marino as Carmen, Michael Mayes as Escamillo, Richard Trey Smagur as Don Jose, and Tom Key as seedy bar owner Lilas Pastia. Answers for Escamillo, in 'Carmen' crossword clue. Search for crossword clues found in the Daily Celebrity, NY Times, Daily Mirror, Telegraph and major publications. Find clues for Escamillo, in 'Carmen' or most any crossword answer or clues for crossword answers. Suggested Audition Pieces Auditioning for Escamillo? Based on his/her attributes, we recommend you consider these audition pieces!

by Hugh Gilmore

It’s time I caught you up on the progress of the novel I’m writing. In George Bizet’s opera, “Carmen,” a young army officer, Don Jose, stationed in Seville around 1820, falls in love, against his wishes, with a lovely and bewitching gypsy girl. He throws over his army career, his sweet, hometown fiancée and his integrity to have her, and even joins her band of brigands and smugglers, becoming a hunted fugitive.

Matters get worse quite soon when he notices that Carmen has started yawning whenever he smiles at her. The more he whines and threatens her, the more she withdraws. When she falls for the most famous “toreador” in Spain, Escamillo, and it becomes obvious that Carmen despises him and will never love him again, Don Jose kills her.

In the final scene of the opera, he sings the famous line, “Carmen, I adore you” to her broken, lifeless body. The hovering police then drag him off to face a death sentence.

The first version of this opera I saw was a Francesco Rosi film production, “Bizet’s Carmen,” (1984). That film captivated me so much I began a quest to see as many productions of “Carmen” as I could. I’ve not counted lately, but I’d say I’ve seen two-dozen in the past year-and-a-half and probably about 30 YouTube clips from other productions. I’m not much of a re-reader or re-watcher normally, so that’s a fairly significant indication that I’m deeply captivated by this story.

While watching a Hungarian production of “Carmen” on a DVD one evening last June, I suddenly thought, “What if Escamillo wasn’t just some cheesy matinee idol who turned Carmen’s head away from humble, poor, miserable, victimized Don Jose? (Who after all, had stalked, and then murdered Carmen – who after all, was young, and had a right to love, or not love, whomever she pleased, and did not deserve to die.)

Escamillo Of Carmen

What if Escamillo sincerely loved Carmen? What if her death seriously and truly broke his heart? What happens next to him? How does he deal with his memories and his broken dreams?

Oh, and how about this? How does he deal with the scandal the whole affair causes? Yes, that’s it, I thought: I’ll draw all these characters off the stage and put them in the real world.

Let’s say that Carmen, Don Jose, Escamillo and the other characters were actual people who lived and loved in Seville in 1874 or so. Let’s say there really was a love triangle that worked like this: Carmen “dated” Don Jose for a little while, but he bored her. He was too naive – a country boy who didn’t “get it.” Too clingy.

Escamillo in carmen

She tried to break up, but he stalked her and threatened her. One night she met Escamillo in a tavern and they were mightily attracted to one another and had just begun a powerful relationship. On the day she was first supposed see him bullfight, Don Jose accosted her and killed her outside the arena.

Then, the media went berserk. Front-page news. “Love Triangle.” “Love Nest.” “Mad Passion ends in Tragedy.” “Soldier Turns Matador in Bullfighting Competition,” and so on. The sensationalizing press from Seville is joined by frantic journalists from Madrid, Cordoba, Barcelona, and Valencia.

The entire Mediterranean is abuzz. The news spreads to France, Germany, London, and Vienna – even to the United States.

And, as always, the story is twisted. Every aspect is taken to a cartoonish extreme. “The arrogant bullfighter,” “ The disgruntled army man,” “Bewitching gypsies.” Salaciousness, lust, anger, violent passions. Seville as a nest of sin and sinners.

Poor Escamillo: Not only is he heartbroken – he also feels it is his burden to tell the world the truth about Carmen. But no one wants to hear the truth when the media have concocted something so much more blood stirring. And what’s more, Carmen’s family has stolen her body from the police and absconded in the middle of the night with her.

She will be buried in some private burial spot no one outside her family will know about. She has shamed her family by loving an outsider. She’ll get an unmarked grave. Escamillo sets out into the mountains, alone, hoping to find them, hoping to at least know her burial place, so he may visit her. And in his travels, what does he learn?

While her body is barely cold, a brash team of French operatic producers has dared to rush together a stage production based on her life and the famous, lurid, “love triangle of Seville.”

Really, to his perceptions, this is crass effrontery: “Carmen –The Musical.” How can human beings do such a thing to their fellows? How can they defame the name of this sweet young woman he loved? Who is this Mr. Bizet? Who are these actors and singers and dancers that can take someone’s life and distort it so maliciously?

Escamillo Carmen

Escamillo, frustrated in his search for Carmen’s family and already in Northern Spain, crosses the Pyrenees and heads for Paris. He will attend this opera himself. If it is as bad as he’s heard, he will confront these actors and actresses. In fact, he shall seek out Mr. Bizet himself.

I must close for now. You can imagine the fun I’m having, between the research and the story, trying to hold the reins on this runaway as it courses though Spain and France on a quest to rewrite one of the world’s greatest love stories before it becomes too well known.

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Escamillo carmen detto

Utah Opera premiere of Peter Brook’s 90-minute adaptation of Bizet’s opera “Carmen.”

Kirstin Chávez sings the role Carmen with Isaac Hurtado as Don José and Efraín Solís as Escamillo in a production directed by Omer Ben Seadia and conducted by Ari Pelto.

Five performances from May 8 through May 16 at the Janet Quinney Lawson Capitol Theatre mark the first Utah Opera performances for a live audience since October 2020.

SALT LAKE CITY, Utah (April 28, 2021) – Audiences are invited to experience live opera once again when Utah Opera produces Peter Brook’s “La tragédie de Carmen” at the Janet Quinney Lawson Capitol Theatre in downtown Salt Lake City. The five performances take place from Saturday, May 8, 2021 through Sunday, May 16, 2021 and will be the first Utah Opera performances staged for a live audience since October 2020.

“I’ve always been attracted to the Brook adaptation of Bizet’s famous opera,” said Christopher McBeth, Utah Opera’s Artistic Director. “It takes a story and music with which most of us are familiar and re-examines the characters, the themes and the music in a way that not only is respectful to the original upon which it is based but also gives us a new perspective. The piece is compelling in its focus and powerful in its distillation. It gives everyone involved that feeling of freshness and discovery, no matter how much experience we may have with ‘Carmen.'”

Omer Ben Seadia directs Utah Opera’s production, which is set in present-day New York City’s Spanish Harlem neighborhood, with projections and lighting designed by Tláloc López-Watermann and costumes designed by Verona Green. The opera will be performed in French with English supertitles projected above the stage.


“La tragédie de Carmen” focuses on the intense relationships between the story’s main characters. Mezzo-soprano Kirstin Chávez, called “the Carmen of a lifetime” for her “dark, generous mezzo, earthy eroticism, volcanic spontaneity and smoldering charisma” (Opera News), is the beguiling Carmen who sings the famous “Habanera” aria. Tenor Isaac Hurtado makes his Utah Opera debut in the role of Don José, an officer who has his eyes set on Carmen. In addition to being accomplished performers, Chávez is Artist in Residence and Associate Professor of Voice at the University of Utah and Hurtado is Director of Opera and Assistant Professor of Voice at Utah Valley University. Baritone Efraín Solís, praised for his “theatrical charisma and musical bravado” (The San Francisco Chronicle) plays Escamillo, Don José’s competition for Carmen’s affection.

Utah Opera’s four Resident Artists round out the cast with soprano Julia Gershkoff singing the role of Micaëla, Don José’s childhood sweetheart. Brandon Bell plays Zuniga (Don José’s superior officer) and Garcia (Carmen’s husband), Daniel O’Hearn plays the club owner Lillas Pastia and Edith Grossman plays Fate, the irresistible force with which Carmen and Don José must contend.

Escamillo Carmen Charakterisierung

Conductor Ari Pelto returns to lead the cast of four singers and a Utah Symphony chamber orchestra featuring 15 musicians. As in the company’s October production, the orchestra performs on stage rather than in the orchestra pit and is distanced behind a scrim that also serves as a projection surface. Per recommendation from an airflow study done in partnership with the University of Utah, a plenum box has been constructed to pull air from the stage out the doors of the theatre to quickly remove aerosols produced by wind and brass instruments.

Peter Brook’s “La tragédie de Carmen” premiered in 1981 as a collaboration with Academy Award-winning writer Jean-Claude Carrière and composer Marius Constant. An adaptation of Bizet’s opera “Carmen,” “La tragédie” runs just 90 minutes with no intermission (a typical production of “Carmen” runs more than three hours) with no chorus but features much of the familiar music that makes Bizet’s “Carmen” one of opera’s major box-office draws.


Tickets may be purchased using the new Utah Symphony Utah Opera mobile app, available free for iPhone and Android. Tickets may also be purchased online at, by calling USUO Patron Services at 801-533-NOTE (6683) or through Discounts to select performances are available for students and subscribers. In-person assistance is not available at this time. For Ticket Office hours and the most up-to-date information, please visit

In accordance with Utah’s State Public Health Order, masks, covering the nose and mouth, are required for all attendees during the performance and while in the venue. Patrons are required to confirm they are not subject to any isolation or quarantine requirement and are not experiencing any Covid-19 symptoms on the day of the performance.

Salt Lake County Arts & Culture recently announced that venues could operate at increased capacity beginning May 1, 2021. Utah Opera will operate at around 30% capacity (approximately 500 seats) for this production.


Peter Brook’s “La tragédie de Carmen”
May 8 & 14, 2021 7:30 PM
May 10 & 12, 2021 7 PM
May 16, 2021 2 PM

Janet Quinney Lawson Capitol Theatre (50 W 200 S, Salt Lake City, Utah)

Runtime: Approximately 90 minutes with no intermission

Adapted from Georges Bizet’s opera by Marius Constant, Jean-Claude Carrière, and Peter Brook

Brief Synopsis

The young officer Don José gets in over his head when he catches the eye of the beguiling Carmen. After aiding her escape from the law, Don José is jailed, demoted and kills his superior Zuniga before running off with Carmen. Meanwhile, Don José’s childhood sweetheart Micaëla searches for him as he confronts the other men in Carmen’s life: Escamillo and her husband, Garcia.

Sung in French with English supertitles projected above the stage.

Utah Opera