Escamillo is only in a few scenes, they are some of the most exciting and engaging scenes in the opera - so however I approach him, I have to do so very clearly and efficiently. I was acutely cognizant of this fact when I began to reexamine my portrayal for this edgier, slimmed down, and in my opinion, more effective production. In portraying Escamillo, as many of the characters in Carmen, one can run the risk of lapsing into caricature and even buffoonery. There's a lot of dash and swagger there, but did you pinpoint some other trait that you could explore? It's the same with bullfighters… that ever-present, often deadly risk, offset by the heights of glory and success. As high as you can get after an incredible performance (read bullfight), the risk of falling flat on your face is ever present, and its treading that tight rope that thrills me and keeps me coming back to the stage gig after gig. It's not just the adulation that I've craved, but the thrill of attempting to engage thousands of people at once, and the risk of being at their mercy. The desire to be in front of large crowds of people was something that was in me from a very early age. You can follow Michael on me a bit about playing the bullfighter Escamillo: When preparing for the role, w hat is the aspect that you found to be the best guide into your performance? He carved out some time from a busy rehearsal schedule to answer some questions before this Friday's opening night. Baritone Michael Mayes plays the bullfighter who steals away the gypsy Carmen from her jealous lover.

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