The Phantom of the Opera- Illustrated Feature Story

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*The pictures in this podcast were from Google Images, not my own*

“The Phantom of the Opera,” the longest running show on Broadway, is truly a spectacle for all ages. What makes this show such a booming success is not the props and the actors, but more importantly, the dramatic yet dynamic musical numbers behind each scene by the world famous musical composer, Andrew Lloyd Webber. According to Broadwayworld.com, Webber’s music and “emphasis on lush romanticism, and the sympathy he’s able to create for the lead character, are all factors in it’s continued success.”

However, such musical genius does not come from just anywhere. When asked about his motivation for the music in Phantom, Webber stated, “The plot of my Phantom is pretty much mine. It’s based on the Gaston Leroux book- I’ve taken a lot of liberties with it.” By taking his own interpretation of the book and adding different notes and beats, Webber cleverly created his musical compositions into the old-fashioned high romance theme he has always envisioned for Phantom.

Right from the beginning, his overture of ever crescendoing notes and dynamics sends chills down one’s back. By starting off at piano and crescendoing up to a fortissimo, Webber’s overture really sets the tone for the “music of the night.” This mysterious overture provides both suspense as well as mystery of how the play will unfold, leaving audiences questioning, Why the dramatic music? Is something bad going to happen to one of the main characters? His use of different notes as well as various tempos in this piece truly makes this one of the most unforgettable shows in Broadway’s history.

Besides the overture, the music is never constant throughout. From the beginning, it was hinted that the musical would all be dramatic, intense, somber music but as the story line/plot of the show changes, so does Weber’s music. He is able to not only change his music according to what is happening in each scene, but with each song, he evokes a different emotion from the crowd.

For example, “Think of me” is a slow, sad song between Christine and her long time acquaintance and love interest, Raoul. The beautifully orchestrated piece filled with long bow strokes of the violin and viola accompanied by the brilliant yet enthralling soprano voice of Christine clearly shows the passionate and affectionate feelings Christine and Raoul share. To critics, “Trista Moldovan is a lovely presence as Christine, and her warm soprano brightens numbers like “Angel of Music” and “Think of me.”

In contrast, “The Phantom of the Opera” with its low notes and mysterious aura is anything but loving. This piece with its pounding beats and dramatic rhythm makes the audience question whether Christine is scared of the Phantom or what the Phantom is planning to do next in his fight for Christine’s love. According to various reviews, the Phantom has “a fine voice that’s fairly suited to the material, and he does decent work conveying the despair and loneliness inherent in his character.”

To further add to the variety of music, Webber’s addition of “All I ask of you” clearly has a different tone of its own. It does not have the powerful and dark undertones of “The Phantom of the Opera” nor the romantic allure of “Think of me.” Instead, this song, again sung by Christine evokes sympathy for Christine because she is begging the Phantom to let her go from locking her up in the Paris Opera House. It is evident from the soft and peaceful music as well as the tone of Christine’s voice that she is pleading to be let free. Also, Webber cleverly makes the music match so that each word,” All I ask of you” is emphasized and accounted for. By slowing down the tempo and making each word known, Webber clearly reveals to the audience Christine’s feelings at this time.

However, the buck does not stop here. Webber’s genius is not only manifested in “The Phantom of the Opera” productions throughout London and the United States alike, but his musical talent have been evident everywhere, especially in the past. Having watched “Cats” on Broadway, it was no surprise that Webber also wrote some of the beautifully orchestrated pieces in that production. The most memorable number when I saw that production was none other than “Memory.” Webber’s composition as well as the wonderful orchestra truly created a memorable song that will last a lifetime. His work was written in such a way that it not only showed the cats last life here on Earth, but also indeed left the audience without one single dry eye. Again, his use of various tempos and dynamics flowed so well together, that it was no surprise that almost everyone gave a standing ovation at the end. In fact, critics raved, claiming, “Lloyd Webber’s most remarkable gift burns constant as ever. Evocative melodies and fine orchestrations.” Another review claimed, “Lloyd Webber’s scope is thoughtfully accommodating towards Eliot’s rhythms, continuously inventive.” Clearly, Webber’s musical ingenuity is not only evident in “The Phantom of the Opera,” but in every musical he worked and will work on.

From both “Cats” and “The Phantom of the Opera,” none of either success would exist without the stunning and magnificent help of the music behind it. Although costumes and plot may be important, nothing is complete without a variety of dynamics and tempos. Without music, Broadway and musicals would never be the same. On the same note, without Webber, Broadway would never be the same.