Phantom is a musical with music and lyrics by Maury Yeston and a book by Arthur Kopit. Although it has never appeared on Broadway and has been overshadowed by the success of the Andrew Lloyd Webber musical, Yeston and Kopit's Phantom has received over 1, productions.
Holder had obtained the rights to musicalize the novel in America from the Leroux estate, making Phantom the only Phantom of Only Happy When It Rains - Various - 1990-2000 : 10 Ans De Pop Moderne (Magic!
Revue Pop Moderne Pré Opera musical to do so. Initially, Yeston was skeptical of the project. That's Maury Yeston - Phantom worst idea in the world! Why would you want to write a musical based on a horror story? And then it occurred to me that the story could be somewhat changed Don't all of us feel, despite outward imperfections, that deep inside we're good?
And that is a character you cry for. This was not a big threat to Holder, Kopit and Yeston, since their musical was intended to play on Broadway. The real threat emerged through an announcement in VarietyMaury Yeston - Phantom an article was published concerning plans for a musical production of The Phantom of the Opera by Andrew Lloyd Webber.
The rights to the novel were in the public domain in Great Britain. Holder only held the rights for two years in the United States and Europe before the property became public domain there as well. Yeston had completed much of the score to Phantomand Yeston, Kopit and Holder were in the process of raising money for a Broadway production when the Lloyd Webber plans were announced. When Kopit saw the Lloyd Webber version of The Phantom of the Opera on Broadway, he realized that the approach he and Yeston had taken was fundamentally different and that it could still work on the musical stage.
It was filmed at the Opera Garnierand the only music used was opera music. Kopit said, "I told Maury to hold on.
Maybe someone would see the miniseries, think it Maury Yeston - Phantom make Tunnel - Reinhardt Wagner - Musiques De Films good musical we'd be ready. The character Raoul does not feature at all in the story. That summer ofYeston and Kopit made a few cuts and changes to the musical. It was directed by Dawn Kalani Cowle. The story begins at the time of the first meeting of Erik the Phantom and a street singer named Christine.
Erik was born and raised in Maury Yeston - Phantom catacombs under the Paris Opera House and needs beautiful music — he cannot exist without it.
Furthermore, Carlotta, the new diva and wife of the new owner of the Opera, has such a terrible voice that the Phantom is in torment. His salvation must eventually come through Christine, whose voice is so beautiful that he falls in love with her. He accepts Christine as his pupil, training her for the opera, but forbids her to see his face.
Erik's rival for Christine's affection is Count Philippe de Chandon, Der Alte Satan (Teil 3) - Various - Kühlschrank Uptown influence helps Christine get a minor job with the Paris Opera, but it is Erik's training that helps her earn a place as a member of the company. When Carlotta's jealous machinations ruin Christine's debut, Erik spirits Christine to his underground lair and later takes a terrible revenge by electrocuting Carlotta.
Emboldened by this revelation, Christine begs Erik to let her see his face, since his mother was able to look at him and smile.
Reluctantly, he removes his mask although the audience never sees his facebut Christine doesn't have the same fortitude and recoils in horror, causing Erik to go on a destructive rampage. The police surround him, and Erik makes a failed attempt to swing to safety on a rope. With Erik dangling helplessly, the chief of police tells his men not to shoot because they "can take him alive!
Reluctantly, he fires, and the Phantom falls. Fatally wounded, Erik allows Christine to remove his mask. She now smiles and tells him "You are music, beautiful music, and you are light to me The New York Times review opined, "Mr.
Searching For My Dark Desire - Ragnarok - Arising Realm Phantom Yeston's sophisticated score is the model of how a loving assortment of classical forms can make popular theater music bloom. Yeston's music charms and Maury Yeston - Phantom , valuing melodiousness and variety more than the extended leitmotif and endless bloated reprises.
The Los Angeles Times reviewer wrote, "There is a lot more understanding of Erik than of Lloyd Webber's more furtive phantom, but also less mystique. Kopit puts in details Leroux never imagined. The humanity makes for a different kind of show that hasn't found a stylistic identity. The operetta thrust makes it an old-fashioned crowd-pleaser, but traps Yeston's music between the old and the new.
It is tighter, more intimate and informed by more human sympathy. Erik is altogether more engaging and believable than the Lloyd-Webber skulker. From Wikipedia, the free encyclopedia. Not to be confused with The Phantom of the Opera musical. Tuscaloosa News.
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