Sometime later, as the Phantom composes at his organ, Christine wakes and, overcome with curiosity, sneaks up behind him and tears off his mask ("I Remember"). She becomes overwhelmed and faints, prompting the Phantom to carry her to a bed ("The Music of the Night"). Once there, the Phantom tells Christine he has chosen her to sing his music. The two descend into the Opéra's cellars and take a gondola across a subterranean lake to the Phantom's lair ("The Phantom of the Opera"). A ghostly, partially masked face appears in her mirror, revealing that the Phantom has been masquerading as the Angel of Music, and commands her to walk through it ("The Mirror (Angel of Music )"). Believing it to be the Angel, she begs him to show himself to her. The moment he leaves to fetch his hat, Christine hears a jealous voice condemn Raoul for intruding. Christine tells him about her lessons with the Angel of Music, to which he responds by indulging in what he assumes are fantasies and inviting her to dinner ("Little Lotte"). She then receives a surprise visit from Raoul in her dressing room, where they reminisce about their first meeting and their time as playmates. That night, Christine makes a triumphant stage début, during which Raoul de Chagny, the Opéra's new patron, recognises her from his youth ("Think Of Me").įollowing the performance, Christine reveals to Meg that her teacher is an invisible angel her father told her about in stories ("Angel of Music"). The managers, realising that they have no other alternative, let Christine audition and find themselves dazzled by her exceptional voice. André identifies the name as the same as a prominent deceased violinist, who Christine reveals was her father.
As Lefevre departs, Meg Giry, the daughter of ballet mistress Madame Giry, claims her friend Christine Daaé has been taking singing lessons from an unknown teacher and can sing in Carlotta's place. The new managers attempt to downplay the situation, but Carlotta refuses to perform and walks out. When a falling backdrop barely misses resident soprano Carlotta Giudicelli, everyone blames "The Phantom of the Opera," who has troubled them for the past three years. In 1881, the Opéra Populaire's retiring owner, Lefevre, interrupts rehearsals for the grand opera Hannibal to introduce the company to his successors, Richard Firmin and Gilles André ("Hannibal Rehearsal"). The auctioneer presents a restored chandelier as the next item up for bid, noting its connection to "the strange affair of the Phantom of the Opera, a mystery never fully explained." As the mammoth fixture comes to life, the theatre's former grandeur returns ("Overture"). In 1905 Paris, France, during an auction hosted by the defunct Opéra Populaire, the Vicomte Raoul de Chagny purchases a music box an unknown woman told him about, noting it appears just as she described it. In order to enable more people to see the production, the final performance was relayed live to cinemas around the world via Fathom Events. Tickets for the three performances sold out within five hours of going on sale. The orchestra was elevated on a platform and backed by a screen which the opera sets were projected onto, with LED screens on the lower portions of performance stage. The balconies of the hall were used to build uprights to form an opera house proscenium with boxes on each side.
RAOUL PHANTOM OF THE OPERA 25TH ANNIVERSARY FULL
As a concert hall rather than a theatre, many of the show's elements (such as the chandelier, which instead of falling, exploded) had to be toned down and simplified: the Royal Albert Hall was simply not capable of accepting a show the size of The Phantom of the Opera, or at least not the full original.
As a result, the event was planned as a full show.ĭesigning the staged show at the Royal Albert Hall was a daunting task, as the space (or lack thereof) was not an easy one to translate a proscenium show into. Designer Matt Kinley initially planned to hold a concert-style production not unlike the Les Misérables 25th anniversary concert at the O2 Arena, but Mackintosh made it clear the show would be fully staged, as both he and Lloyd Webber felt it would not work unless it was the whole show. To mark the milestone of 25 years, Andrew Lloyd Webber and Cameron Mackintosh planned a special 3-day production to take place at London's Royal Albert Hall in October 2011.
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