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The plucks continued, with no semblance of tune, accompanied by the soft giggle of a female voice. Irate that someone dared to toy with an instrument meant for sounds of perfection, he angrily strode forward until he peered over the edge of the pit. There before him, with her back to his burning gaze, stood a petite golden-haired young woman fingering the instrument as if it were a mere plaything.
The sounds reverberated again, and another giggle ensued. His unbridled displeasure over her actions caused him to fling his words at her without a second thought. He boldly stepped into full vision, daring to show his masked face to the intruder to make a point.
The Phantom of Valletta. Lessons From the Phantom of the Opera contains lyrics from the stage play as written by Andrew Lloyd Webber and the lyricists. The cost was pretty hefty, but I thought it would be nice to include them. Those lyrics are not, of course, here on the website. When you license music like this, rights are usually given by how many prints will contain it.
I paid a price for a certain number of books, which I have now reached in sales. In order to keep selling the book in print and eBook, I'd have to pay another license fee for additional copies. I'm not willing to do that. They should all be down within the next few weeks, however, you may see residual copies floating around here and there. I do plan to re-release it with the stripped lyrics, but it won't be for quite a few months.
In the meantime, I apologize for not making this book available, but it's a matter of cost that I'd rather put into advertising my current list of books in the historical romance and contemporary romance genre that I have recently released. I will let you know when the book is released and available for sale once again. Thanks for your understanding. Posted by Vicki Hopkins at 5: Friday, November 4, Blowing Out the Candle.
I've done some deep soul searching over this blog and other matters in the past month. Usually, when your soul prompts you to search inwardly, there's a discovery or change at the end of that endeavor. I have, after much reflection, decided to end my blogging on Lessons From the Phantom of the Opera entirely.
After nearly four years and posts, I've done my bit in the lair and expressed my joys from center stage to the depths of the lake under the opera house. I've dissected, offered my two cents, received so many emails thanking me for my thoughts that I cannot count them all; but I will cherish every one. That, in itself, has given me great satisfaction. I've also had my share of critics, who found it necessary to slap my hand for having an opinion regarding Love Never Dies.
This blog continues to receive hits worldwide, and the blog in print form continues to sell worldwide. I will not pull the blog from the Internet or the printed book. However, there will be no further posts about Phantom after this date. My life's direction is turning elsewhere, as well as my interests and my career goals. When that happens, there are times your greatest interests must be put aside in order to pursue where your heart leads you next. I will never stop loving The Phantom of the Opera or the story it tells. It's been a huge part of my life, and I am very grateful for the experience.
As far as further Phantom publications, I have people emailing me for a sequel to The Phantom of Valletta. I hadn't planned on one, but you never know what an author has up their sleeve. It may be " garbage " to some, but to others it was an enjoyable read, especially to my very kind friends on the island of Malta who embraced the story wholeheartedly.
They are very gracious and generous fans. As far as the book itself, there may be some shocking surprises in the future. For Phantom news, thoughts, and opinions, I encourage you to reach out to others in the community who are more than able to feed your need. If I have news about my publications, I'll update this site, but as far as blogging, I'm blowing out the candle.
Thanks to everyone who supported me during this journey. If you wish to follow my endeavors elsewhere, feel free to visit my official author website at http: Yesterday at 11 a. Bonnie and I sat next to each other, along with a friend she brought, and my son and his friend on the other side of me. If it were not for Bonnie carrying an abundant amount of tissues in her purse, I would have been wiping my nose upon my sleeve or running to the ladies room to steal some toilet paper.
How could I leave without tissues? Whenever I see Phantom, I cry. Some shows I cry more than others, based upon the performance of the Phantom. Others have moved me to tears, but Ramin Karminloo moved me to uncontrolled weeping.
Bonnie and I kept grabbing each other during various scenes, because they were so powerful. I'm sure others have different opinions about the production, and I've read some already not that the Phantom community ever complains or anything ; but I can only reiterate yesterday was a celebration.
I encourage the community not to turn it into a condemnation. Those who were privileged to be in London and see the show live were surely blessed. The energy in the Albert Hall had to be electrifying. However, seeing it on the big screen in a theater was nothing less than mind blowing. The cinematography was fantastic! I thought we'd just be plugged into one camera during performance showing the stage as a whole, as if we were some person plunked in a seat in the auditorium with a cheap ticket. On the contrary, we were given a visual feast of various angles, closeups, and actually saw tears rolling down the faces of Ramin and Sierra.
As far as the staging and sets, it was somewhat different no doubt due to the change in venue. Some of the familiar items such as the dressing room were missing, the elephant for Piangi, and a few other nuances. No doubt that had much to do with the setting of the production, but frankly it did not deter the enjoyment of the show for me.
The visuals were wonderful too on the big screen as far as the backdrops that showed such great views like the Phantom penning his notes.
Calm your depression with the ancient wisdom of yoga. When you license music like this, rights are usually given by how many prints will contain it. After being hounded down by a few - met with hatred by a few, just because I saw, liked, and supported Love Never Dies , I've often considered throwing the towel into the lake under the opera house and never returning. Love Never Dies has kept the candle burning ever so brightly, not that the light had ever dimmed on Phantom, as it is the most successful piece of entertainment in all history. He was still hounded down by everyone, who showed him no compassion and wanted him dead. Would love to sing with Vittorio Grigolo. Genial dispatch and this enter helped me alot in my college assignement.
The costumes were to die for! Have you ever been close enough to see the lines of the feathers in the Phantom's fedora or the bead work on his cape? How about Christine's wedding dress and all the intricate detail the eye can behold? The colorful costumes were breathtaking, and a fitting recognition was given to the designer, who passed away some years ago - Maria Bjornson. The performances, as far as I'm concerned, were nothing close to mediocre.
There were frankly brilliant in every possible way. Each Phantom, of course, brings their own interpretation of the role, and each fan has their preferences. However, after looking into Ramin Karimloo's eyes during some of the close-up scenes, I can honestly say the man embodied the Phantom perfectly.
This was my first time seeing Karimloo play the original role. I have an extremely high regard for Ramin as a man of character, too, which was clearly demonstrated at the end of the show when he bowed to Crawford and held his hand to show him the respect he deserved. As far as his overall portrayal and vocals, they were sublime. Frankly, I was a tad worried having heard reports that his voice wasn't up to par on the first performance, and he even tweeted he was aware of the problem.
However, Sunday's performance he was at the top of his game. Ramin's portrayal moved me to tears. His hurt, longing, anger, and brokenness were palpable. He just didn't play a role; he became the character. If I could bow to him and kiss his hand, frankly I would. What can you say about Sierra Boggess?
She is Christine Daae. Her performance was touching, conflicted, and filled with yearning -- frankly, I don't have enough words to express the depth of her portrayal or her wonderful vocals on stage. Her and Ramin were meant to play the part together. Their chemistry had already been forged in their roles in Love Never Dies , and that chemistry was brought to the 25th Anniversary celebration. Great casting choice, though some may disagree in my assessment and the reasons behind those choices. I had never heard of Hadley Fraser until the 25th Anniversary cast was announced. Wonderful choice for Raoul, the Vicomte de Chagny.
He played it with just a tad bit of aristocratic arrogance, which was quite appropriate since he was a patron of the opera house, rich beyond belief, titled, and handsome to boot. I thought his endearment toward Christine quite touching, and his hatred toward his rival quite convincing. His vocals were superb.
As far as the remaining cast who played Meg, Madame Giry, Carlotta, Piangi, and the managers, they are all to be congratulated for their fantastic performances. They all deserve five star ratings, as well as the ensemble and chorus. The onstage reprisals and celebration after the performance were fantastic. I get such joy seeing Andrew Lloyd Webber. Michael Crawford came out on stage and the audience, of course, gave him the accolades due for being in the original cast. It was a very moving ending indeed. Yes, it was a celebration of the 25th anniversary. Of course, other reviews contrary to my own are popping up making it more of a condemnation instead.
And, yes, you are entitled to your opinions. I can only add that the joy of Phantom is a universal gift that has been bestowed upon us by Andrew Lloyd Webber and the many others responsible for the creation of this wonderful production. As for me, I will not and cannot condemn and nitpick to death the beauty of yesterday's production. Because it's not about me, folks, nor shockingly is it about you. It's about the continued existence of this wonderful show and story and the success of 25 years rolled into a program of celebration.
In conclusion, all I can say is that it will be forever etched in my mind as a fantastic presentation of the story I so dearly love. I hope to own it on DVD one day and play it until I have to buy another copy because I've worn it out. If you haven't had the opportunity to see it yet, it's replaying encore performances at selected theaters this week. Go and enjoy it and glory in the celebration of The Phantom of the Opera. The Phantom's Student aka Vicki P. As October 2, nears to the 25th anniversary celebration of The Phantom of the Opera, a lot has been stirring in my opinionated soul.
Usually, when I post an opinion, I pay for it in many ways. The lair, in case you didn't know, isn't exactly the safest place to be these days as a fan of The Phantom of the Opera. After being hounded down by a few - met with hatred by a few, just because I saw, liked, and supported Love Never Dies , I've often considered throwing the towel into the lake under the opera house and never returning.
I've been defriended on social mediums, blocked, forum crucified, tweeted as a moron who writes garbage, and reviewed on Amazon as an "amateur" who knows nothing. Ah, the love of the lair! Where else in the entertainment community can you find such -- such unconditional love and acceptance? Maybe during the final lair scene on stage, but most definitely not in the Phantom community. Now that I got that out of my soul, let's proceed to the 25th Anniversary celebration.
I had posted an article sometime ago about Phantom forums, where I occasionally read, lurk, and foolishly contribute my opinion. There's been a ton of chatter in the lair recently regarding the 25th anniversary concert of The Phantom of the Opera to be held at the Royal Albert Hall.
Posted by Vicki Hopkins at 1: However, the question remains open to you, my readers. What makes a great on-stage Phantom in your opinion? We can think of many greats from the past who have played the role from Michael Crawford to John Owen Jones, currently in the production at Her Majesty's Theatre.
As I've wandered the Internet and various forums, you often see posts from individuals who talk about their favorites. Each person seems to have their own idea of what makes a great Phantom and why that individual's performance touched them above others. Of course, none of us have probably seen every single man on stage who has worn the mask around the world in the various productions. In case you are curious who has worn the mask in the past 25 years, there's a good thread on Deserted Phans, a forum for POTO, attempting to list all who have played the iconic Opera Ghost.
Out of the four Phantom's I've seen perform the role, Scott Davies, is my favorite. I wish I could say, I've seen Peter, but I have not. So what are the qualities of a great stage Phantom? Where in the production do we judge the pinnacle of their performance to form an opinion? Music of the Night? Point of No Return? Do we take into account the vocals of the performer? How about his nuances of the portrayal of the Phantom himself -- like the way he moves across the stage, or uses his hands and fingers?
How about the acting and his reactions such as his cries, his tears, his rage, his parting words of love to Christine? There are so many variances, it's really hard to point to one single thing that makes a great Phantom. Frankly, I think it's whatever touches you as an individual in the whole of the performance itself.
The character of the Phantom is portrayed differently from actor to actor. Always the same lines, usually the same choreography, but differences of interpretation as to the personality of the individual in the black cape. One may appear more menacing and evil than another in the final lair scene or another perhaps controlling, frustrated, or broken. In the Music of the Night, seduction, passion, and chemistry between Christine and the Phantom vary too.
How many have you watched them glide their hands across her body and sway her in a certain way that gives you that craving to be embraced by that bad-boy? I find it quite fascinating, because some people are more prone to the "sexy" Phantoms rather than the "dangerous" psychopath that has you in his clutches.
Ah, such sweet intoxication! I guess whatever floats your gondola is the one you'll choose as your favorite great on-stage Phantom. Anyway, tune in if you can to hear Peter Karrie. We'll promise to pick his brain about his interpretation of the Phantom of the Opera and perhaps learn why he was chosen as the favorite of many.
If you want, comments are open this time. Feel free to post what makes a great on-stage Phantom in your eyes. Posted by Vicki Hopkins at 3: Yes, it's a date - August 27, Well, if you're a fan of Love Never Dies in London, it's a sad day indeed, because it will have its last performance at the Adelphi Theatre on The Strand. It means that a group of wonderful, talented, and fantastic men and women are going to be out of a job; and that, in itself, saddens me to the core. What do I think of those performers who put their heart into this production from the beginning?
Well, let me tell you, because I too have a voice.
First off, I think they are servants at heart, especially Ramin Karimloo. I have great respect for this man, because he understands what it means to serve and do your best in spite of obstacles and opposition. He served his master well. Hats off to you, Ramin! I respect you greatly -- your talent, fortitude, and heart from God. I wish you the best in your future endeavors.
You should be commended for your wonderful performances, your tenacity to ignore the naysayers, and your unending every night, wholehearted performances given to the audience. Wonderful interpretation of Phantom as well. Thanks, Tam, for your fantastic spirit and love of the character. It was a pleasure to see you perform more often in that iconic role. We wish you the very best as you move on in your career. You supported the creator of the production, as he tirelessly endeavored to refine his work. You gave it your all and stood by him in the process.
You picked up where others left off, and continued to give the audiences great performances. We appreciate every one of you and wish you the best for the future. You have blessed the hearts of those who received you with open arms, gave us a touching stage production and the opportunity to once again to see Phantom and Christine interact with each other on stage in a story we didn't find offensive.
Though mud has been slung your way, websites have gone up to discredit the show, pages created to complain, protestors have left anti-show fliers at the theatre, nailed them on telephone poles, flipped you the bird, and participated in a war of words on every social medium imaginable on the Internet, you held your heads up high through it all and did your very best in spite of opposition to the story and the characters you represented.
We admire you for the professional way in which you handled the onslaught, and we appreciate your loyalty to Andrew Lloyd Webber's vision to continue the story he put on stage 25 years ago. When you take your last bow in Love Never Dies on the evening of August 27th at the Adelphi Theatre, be assured there are people who love and respect you deeply as the individuals and wonderful performers you are. God bless every one of you in your careers.
May you go on and become successful in all that you set your hand to, and may you take with you cherished memories of your time in the production. As you do, remember that those feelings you elicited in the audience, who watched your wonderful performances, will never die. They will live on in our hearts as fond memories, because we were privileged to be blessed by your outstanding talent and fantastic voices. Picture of final bow on closing night reposted with permission. Posted by Vicki Hopkins at A few months ago, I promised you a review from someone who has attended the Melbourne production of Love Never Dies.
Below is a review from Anthony Grigsby, who kindly agreed to share his experience in seeing the show. Many of us cannot make it to Melbourne, including myself. His insight into his experience attending should give you an idea how it has affected one fan. Even though I am quite familiar with the London version, the visual spectacle of the Melbourne production is exciting to say the least. The latest news is that Love Never Dies will be filmed in Melbourne on September 15th for international release, so many worldwide will be able to experience it via DVD and make up their own mind.
Below is Anthony's experience. Phantom of the Opera and Love Never Dies have totally taken me to another time; they have made me fall in love. I first fell in love with the story of the Phantom when I came across the beautiful music that accompanies Phantom original London cast album.
I listened to it countless times. Then I bought the original novel by Gaston Leroux. When the movie came out, I was hooked. Lastly, the many videos I've watched and the audio I've listened to of the many bootleg shows recorded around the world have kept me a diehard Phan. Love Never Dies has kept the candle burning ever so brightly, not that the light had ever dimmed on Phantom, as it is the most successful piece of entertainment in all history. Many people have come out against the concept of a sequel to Phantom, but I for one will always be a supporter.
The buzz around the Regent Theatre is electric. I got here at I had heard about the Box Office specials that are not available online at Ticketmaster. I went to my seat, which was kind of to the side, but still it was only seven rows from the front so I am not complaining. I can admit I was a bundle of nerves, because I felt overwhelmed and emotional with The Phantom of the Opera and Love Never Dies had made me feel even more emotional. Sitting there waiting for the show to start, for moments you look ahead at the set pieces in front of you that make up the setting of Coney Island.
Listening to people beside me and behind me, you can tell that they are anxious and curious and not quite sure what to expect. This is my third performance, and I still feel emotional and happy and ready to surrender to the story again. Coney Island It begins with the lights. He puts everything into his performance as the Phantom.
He is such a professional actor. He is just amazing when he sings. He has a deeper voice than Ramin Karimloo, but he makes the role his own. At this point, you can be forgiven for not knowing where to look because the stage is full of light and color and all round talent and excitement.
The set for Coney Island is comprised of a Roller Coaster set pieces, which also serve as a bridge for the performers, going up and down. It's an amazing use of the stage.
The big Phantom mask appears on and off during the show. As the story unfolds, we meet Sharon Millerchip , who has reprised her role of Meg as she played Meg in the original production of Phantom in Australia. She is very playful and talented, but you pick up very quickly that she just wants the Phantom's praise.
Then we meet Maria Mercedes , who plays Madame Giry as a no nonsense, single goal-orientated woman. What I find interesting is how Giry has gone from a protector of Christine to being very much against her. Meg although is excited at the prospect of seeing Christine again. Then we meet our Christine, played by Anna O'Byrne , who is so beautiful, not only in her glowing appearance, but her voice as well which we don't hear until later.
Simon Gleeson is brilliant as Raoul. He gives off a tone of control in everything he says and does, even though it becomes evident quickly that they have come to New York seeking fortune, because Raoul has become a drunk and has lost his fortune. I could hear people behind me saying, "she is beautiful. He is a talented boy, and you pick up quickly his curious nature, very much creating the family image.
In an interesting deception, the trio who are played by Dean Vince , Paul Tabone and Emma Hawkins , help the Phantom's plan to deceive Christine and Raoul by appearing in a carriage, assuring them that they are taking them to Hammerstein when actually they are taking them to Coney Island. At first, I didn't like how Raoul had become a drunk. You pick up the arrogance in him, Simon Gleeson does it so well.
We hear Anna speak and sing at this point, she is just perfect as Christine. She was also an understudy for Christine in the Australian tour of Phantom a few years ago. She has great chemistry with the young actors who play her son Gustave. She has a beautiful voice and shows genuine affection and plays a mother so well. Ben has such a presence.
With Anna, you see the anger and hear it in Christine's reaction to seeing him again. What I love here though is that we find out the Phantom and Christine shared a night of passion together, so he has felt the joys of the flesh. I found the chemistry between Ben and Anna here so natural. They make the story so real. The Phantom threatens Christine that he will take Gustave away from her if she doesn't sing for him once more, and you can see that Christine is genuinely hurt by this. Then the Phantom disappears and leaves her with his music. It's here you see something happen, almost something sympathetic.
She starts humming the music, and I think she realizes here it is about her, but that is just what I think. She walks to the balcony and the music is playing when Raoul reappears. When Gustave meets the freaks and they take him to the Phantom's aerie, we see Ben really perform.
He has strong vocal chords here. When he works it out that Gustave could be his son, you see and feel the genuine promise of him hoping Gustave will accept his deformity. Then when he confronts Christine, Anna and Ben share a real emotional moment. I was tearing up, feeling the agony he is feeling at finding out that he has a son after all this time and seeing what Ben puts into the Phantom's anguish. Anna is comforting here in the fact that she promises to sing for him again, and then we watch as the Phantom proclaims that he will give everything to Gustave.
Very deceptively, Maria who plays Giry reveals herself and her anger at finding this out. You feel for her, but you also don't in a way. I just take it as greed. I mean it is his son but then I see the argument there. When Act 2 begins and we see Simon as Raoul drunk in a bar, it makes you pity him. Then you see Sharon as Meg, warning Raoul to leave. It's evident she doesn't want to be second fiddle. The Phantom and Raoul's duet here is gripping.
The first time I was exposed to the music & story of The Phantom of the Opera was, I believe, senior year of high school when my band director chose the music for us to play. A few years ago I read the original novel by Gaston Leroux on which Andrew Lloyd Webber’s musical & the. "The Phantom of the Opera" is a novel by French writer Gaston Leroux. First printed in , the book has since been successfully adapted for.
The show is destined to be informative and exciting, as we ask Kristin about her role as Christine, how she came to be on stage for this production, and what the story means to her personally. Leroux uses the term first, " What monster had carried her off and by what means? Christine calls him a monster, "My lies were as hideous as the monster who inspired them; but they were the price of my liberty.
Raoul calls him a monster, "And why should I hesitate to betray that monster, sir? The Persian refers to him as the monster. What do you think of when you see the word monster? The dictionary defines it as, " any animal or human grotesquely deviating from the normal shape, behavior, or character. His horrible, unparalleled and repulsive ugliness put him without the pale of humanity; and it often seemed to me that, for this reason, he no longer believed that he had any duty toward the human race.
I'm not just talking about what is behind the mask. We all understand that deformity. However, like Webber pens, there is more distortion to the man than a mere physical problem - he's deformed in his soul. When you read the statement above made by the Persian, it seems that he is inferring that Erik justified his distorted behavior toward humanity because his distorted face gave him justification to do so.
Even Christine accuses him in Webber's version of murdering without thought. What is it about Erik's distorted soul? Is he filled with rage and hatred for his lot in life? Does he torture others because he's a tortured soul? Does he murder the normal, as if he wishes to murder the abnormal in him? Erik is a man of anger, hurt, pain, and the outward manifestation of all that boils beneath the surface turns him into the monster everyone thinks he is in both appearance and action. Each of us have a choice when faced with the monster. We can recoil in fear and disgust.
The phantom--who is really a disfigured man--falls in love with a young female performer. One of the main moral teachings of the story is that love between two people cannot be forced. It also highlights the need for every human to be loved. These two concepts meet in the form of Erik the Phantom , who has a fierce, one-sided and possessive love for Christine. For example, he says: The "Phantom of the Opera" encourages people to refrain from judging others based on their appearance. Although Erik has a facial deformity that caused him to be cast out by his parents, he is a highly intelligent and highly emotional being.
Some of the characters come to recognize this fact and sympathize with his plight. An example is the character of Madame Giry, who refuses to mistreat the Phantom and instead befriends him. Later in the story Christine learns to value Erik as a person. Sacrifice is a key moral teaching in "the Phantom of the Opera. Despite the fact that she has aversion toward the Phantom, she kisses him to show her commitment.
Erik comes to realize that he, too, is willing to sacrifice in the name of love.