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ALW Phantom of the Opera

AUCTIONEER
Sold. Your number, sir? Thank you.
Lot 663, then, ladies and gentlemen: a poster
for this house's production of "Hannibal" by
Chalumeau.

PORTER
Showing here.

AUCTIONEER
Do I have ten francs? Five then. Five I am bid.
Six, seven. Against you, sir, seven. Eight.
Eight once. Selling twice. Sold, to Raoul,
Vicomte de Chagny.

Lot 664: a wooden pistol and three human
skulls from the 1831 production of "Robert le
Diable" by Meyerbeer. Ten francs for this. Ten,
thank you. Ten francs still. Fifteen, thank you,
sir Fifteen I am bid. Going at fifteen. Your
number, sir?

665, ladies and gentlemen: a papier-mache
musical box, in the shape of a barrel-organ.
Attached, the figure of a monkey in Persian
robes playing the cymbals. This item,
discovered in the vaults of the theatre, still in
working order.

PORTER (holding it up)
Showing here. (He sets it in motion)

AUCTIONEER
My I start at twenty francs? Fifteen, then?
Fifteen I am bid.

(the bidding continues. RAOUL. eventually
buys the box for thirty francs)

Sold, for thirty francs to the Vicomte de
Chagny. Thank you, sir.

(The box is handed across to RAOUL. He studies it, as
attention focuses on him for a moment)

RAOUL (quietly, half to himself, half to the
box)
A collector's piece indeed . . .
every detail exactly as she said . . .

She often spoke of you, my friend ....
Your velvet lining, and your figurine of lead...

Will you still play,
when all the rest of us are dead?

(Attention returns to the AUCTIONEER, as he
resumes)

AUCTIONEER
Lot 666, then: a chandelier in pieces. Some of
you may recall the strange affair of the
Phantom of the Opera: a mystery never fully
explained. We are told ladies and gentlemen,
that this is the very chandelier which figures in
the famous disaster. Our workshops have
restored it and fitted up parts of it with wiring
for the new electric light, so that we may get a
hint of what it may look like when re-
assembled. Perhaps we may frighten away the
ghost of so many years ago with a little
illumination, gentlemen?
(The AUCTIONEER switches on the chandelier
There is an enormous flash, and the OVERTURE
begins. During the overture the opera house is
restored to its earlier grandeur. The chandelier
immense and glittering, rises magically from
the stage, finally hovering high above the
stalls)

ACT 1
Scene 1
REHEARSALS FOR "HANNIBAL" BY CHALUMEAU

(We have reached the great choral scene in
which HANNIBAL and his army return to save
Carthage from the Roman invasion under
Scipio. HANNIBAL is UBALDO PIANGI;
ELISSA, Queen of Carthage (his mistress) is
CARLOTTA GUIDICELLI. The two leading
SLAVE GIRLS are played by MEG GIRY and
CHRISTINE DAAE. MME. GIRY is the ballet
mistress. M. REYER, the repetiteur, is in
charge.

We join the opera towards the end of ELISSA's
(CARLOTTA's) great aria. She is alone, holding
a pre. from the approaching HANNIBAL, a
bleeding severed head)

CARLOTTA (at the climax of an extravagant cade)
This trophy from our saviours, from the
enslaving force of Rome!

(A STAGE HAND carries a ladder across the
stage. OTHERS are seen still constructing
parts of the scenery)

GIRLS' CHORUS
With feasting and dancing and song,
tonight in celebration
we greet the victorious throng,
returned to bring salvation!

MEN'S CHORUS
The trumpets of Carthage resound !
Hear, Romans, now and tremble!
Hark to our step on the ground!
ALL
Hear the drums - Hannibal comes!

(PIANGI enters, as HANNIBAL)

PIANGI (HANNIBAL)
Sad to return to find the land we love
threatened once more by Roma's far-reaching
grasp.

REYER (interrupting him)
Signor . . . if you please: "Rome". We say
"Rome' not "Roma"

PIANGI
Si, si, Rome, not Roma. Is very hard for me.
(practicing) Rome . . . Rome . . .

(Enter LEFEVRE, the retiring manager of the
Opera, with M. FIRMIN and M. ANDRE, to
whom he has just sold it)

REYER (to PIANGI)
Once again, then, if you please, Signor: "Sad to
return . . ."

LEFEVRE (to ANDRE and FIRMIN)
This way, gentlemen, this way. Rehearsals, as
you see, are under way, for a new production of
Chalumeau's "Hannibal".

(seeing a hiatus in the rehearsal, LEFEVRE attempts to
attract attention.)

LEFEVRE
Ladies and gentlemen, some of you may already,
perhaps, have met M. Andre and M. Firmin ...

(the new managers are politely bowing, when REYER
interrupts)

REYER
I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't
mind waiting a moment?

LEFEVRE
My apologies, M. Reyer. Proceed, proceed ...

REYER
Thank you, monsieur (turning back to PIANGI).
"Sad to return..." Signor ...

LEFEVRE (sotto voce to ANDRE and FIRMIN)
M. Reyer, our chief repetiteur. Rather a tyrant, I'm
afraid.

(the rehearsal continues)

PIANGI (HANNIBAL)
Sad to return to find the land we love
threatened once more by
Rome's far-reaching grasp.
Tomorrow we shall break
the chains of Rome.
Tonight, rejoice - your army has
come home.

BALLET GIRLS begin their dance.
LEFEVRE, ANDRE and FIRMIN
stand center-stage watching the
ballet. They are in the way. The
ballet continues under the
following dialogue.)

LEFEVRE (indicating PIANGI)
Signor Piangi, our principal
tenor. He does play so opposite
La Carlotta.

GIRY (exasperated by their
presence, bangs her cane angrily
on the stage)
Gentlemen, please! If you would
kindly move to one side?

LEFEVRE
My apologies, Mme. Giry.
(leading ANDRE and FIRMIN
aside)
Mme. Giry, our ballet mistress. I
don't mind confessing, M.
Firmin, I shan't be sorry to be rid
of the whole blessed business.

FIRMIN
I keep asking you, monsieur, why
exactly are you retiring?

LEFEVRE (ignoring this, calls
his attention to the continuing
ballet)
We take a particular pride here in
the excellence of our ballets.

(MEG becomes prominent among the dancers)

ANDRE
Who's that girl, Lefevre?

LEFEVRE
Her? Meg Giry, Madame Giry's
daughter. Promising dancer, M.
Andre, most promising.

(CHRISTINE becomes prominent. She has absent-
mindedly fallen out-of-step)

GIRY (spotting her, bangs her cane again)
You! Christine Daaé! Concentrate, girl!

MEG (quietly, to CHRISTINE)
Christine . . . What's the matter?

FIRMIN (to LEFEVRE)
Daaé? Curious name.

LEFEVRE
Swedish.

ANDRE
Any relation to the violinist?

LEFEVRE
His daughter, I believe. Always has her head in the
clouds, I'm afraid.

(The ballet continues to its climax and ends. The
CHORUS resumes)

CHORUS
Bid welcome to Hannibal's guests -
the elephants of Carthage!
As guides on our conquering quests,
Dido sends
Hannibal's friends!

(the ELEPHANT, a life-sized mechanical replica, enters.
PIANGI is lifted, in triumph, onto its back)

CARLOTTA (ELISSA)
Once more to my
welcoming arms
my love returns
in splendour!

PIANGI (HANNIBAL)
Once more to those
sweetest of charms
my heart and soul
surrender!

CHORUS
The trumpeting elephants sound
hear, Romans, now and tremble!
Hark to their step on the ground
hear the drums!
Hannibal comes!

(At the end of the chorus LEFEVRE claps
his hands for silence. The elephant is led
off. Two stage-hands are revealed operating
it from within)

LEFEVRE
Ladies and gentlemen - Madame Giry, thank
you - may I have your attention, please?
As you know, for some weeks there have
been rumors of my Imminent retirement. I
can now tell you that these were all true and
it is my pleasure to introduce to you the
two gentlemen who now own the Opera
Populaire, M. Richard Firmin and M.
Gilles Andre.

(Polite applause. Some bowing.
CARLOTTA makes her presence felt)

Gentlemen, Signora Carlotta Giudicelli, our
leading soprano for five seasons now.

ANDRE
Of course, of course. I have experienced all
your
greatest roles, Signora.

LEFEVRE
And Signor Ubaldo Piangi.

FIRMIN
An honour, Signor.

ANDRE
If I remember rightly, Elissa has a rather
fine aria in Act Three of "Hannibal". I
wonder, Signora, if, as a personal favour,
you would oblige us with a private
rendition? (Somewhat acerbic). Unless, of
course, M. Reyer objects . . .

CARLOTTA
My manager commands . . .
M. Reyer?

REYER
My diva commands. Will two bars
be sufficient introduction?

FIRMIN
Two bars will be quite sufficient

REYER (ensuring that CARLOTTA is ready)
Signora?

CARLOTTA
Maestro.

(The introduction is played on the piano)

Think of me

CARLOTTA
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.

When you find
that, once
again, you long
to take your heart . . .

(As CARLOTTA is singing a backdrop crashes to the
floor cutting her off from half the cast)

MEG/BALLET GIRLS/CHORUS
He's here:
the Phantom of the Opera . . .
He is with us . . .
It's the ghost . . .

PIANGI (looking up, furiously)
You idiots!

(He rushes over to CARLOTTA)
Cara! Cara! Are you hurt?

LEFEVRE
Signora! Are you all right? Buquet!
Where is Buquet ?

PIANGI
Is no one concerned for our prima donna?

LEFEVRE
Get that man down here !
(to ANDRE and FIRMIN)
Chief of the flies. He's responsible for this.

(The drop is raised high enough to reveal upstage an old
stagehand, JOSEPH BUQUET, holding a length of rope,
which looks almost like a noose)

LEFEVRE
Buquet! For God's sake, man, what's going on up there?

BUQUET
Please monsieur
don't look at me:
as God's my witness,
I was not at my post.

Please monsieur
there's no one there:
and if there is, well
then, it must be a ghost . . .

MEG (looking up)
He's there; the Phantom of the Opera ...

ANDRE
Good heavens!
Will you show a little courtesy?

FIRMIN (to MEG and the OTHERS)
Mademoiselle, please!

ANDRE (to CARLOTTA)
These things do happen.

CARLOTTA
Si! These things do happen! Well, until you stop these
things happening, this thing does not happen!

Ubaldo! Andiamo!
(PIANGI dutifully fetches her furs from the wings)

PIANGI
Amateurs !

LEFEVRE
I don't think there's much more to assist you,
gentlemen. Good luck. If you need me, I shall be in
Frankfurt .

(He leaves. The COMPANY looks anxiously at the NEW
MANAGERS)

ANDRE
La Carlotta will be back.

GIRY
You think so, messieurs? I have a message, sir, from the
Opera Ghost.

(The GIRLS twitter and twirl in fear)

FIRMIN
God in Heaven, you're all obsessed!

GIRY
He merely welcomes you to his opera house and
commands you to continue to leave Box Five empty for
his use and reminds you that his salary is due.

FIRMIN
His salary?

GIRY
Monsieur Lefevre paid him twenty thousand francs a
month. Perhaps you can afford more, with the Vicomte de
Chagny as your patron.

(Reaction to this from the BALLET GIRLS.
CHRISTINE takes hold of MEG nervously)

ANDRE (to GIRY)
Madame, I had hoped to have made that
announcement myself.

GIRY (to FIRMIN)
Will the Vicomte be at the performance tonight,
monsieur?

FIRMIN
In our box.

ANDRE
Madame, who is the understudy for this role?

REYER
There is no understudy, monsieur - the
production is new.

MEG
Christine Daaé could sing it, sir.

FlRMIN
The chorus girl ?

MEG (to FIRMIN)
She's been taking lessons from a great teacher

ANDRE
From whom ?

CHRISTINE (uneasily)
I don't know, sir . . .

FIRMIN
Oh, not you as well!
(turning to ANDRE)
Can you believe it? A full house - and we have to cancel !

GIRY
Let her sing for you, monsieur. She has been well taught.

REYER (after a pause)
From the beginning of the aria then, mam'selle.

Think of me reprise

CHRISTINE
Think of me
think of me fondly,
when we've said goodbye.
Remember me
once in a while -
please promise me
you'll try.

FIRMIN
Andre, this is doing nothing for my nerves.

ANDRE
Don't fret, Firmin.

CHRISTINE
When you find
that, once
again, you long
to take your heart back
and be free -
if you
ever find
a moment,
spare a thought
for me

(Transformation to the Gala. CHRISTINE is
revealed in full costume)

We never said
our love
was evergreen,
or as unchanging
as the sea -
but if
you can still
remember
stop and think
of me . . .

Think of all the things
we've shared and seen -
don't think about the things
which might have been . . .

Think of me,
think of me waking,
silent and
resigned.

Imagine me,
trying too hard
to put you
from my mind.

Recall those days
look back
on all those times,
think of the things
we'll never do -
there will
never be
a day, when
I won't think
of you . .
(Applause, bravos. Prominent among the bravos, those
of the young RAOUL in the MANAGERS' box)

RAOUL
Can it be?
Can it be Christine?

Bravo!

(he raises his opera-glasses)

What a change!
You're really
not a bit
the gawkish girl
that once you were...
(lowering his opera-glasses)
She may
not remember
me, but
I remember
her...

CHRISTINE
We never said
our love
was evergreen,
or as unchanging
as the sea -
but please
promise me,
that sometimes
you will think
of me!

Scene 2
AFTER THE GALA

(The curtain closes upstage. BALLET GIRLS, from the
wings gush around CHRISTINE who hands each a flower
from her bouquet. REYER stiffly gives his approval)

GIRY (to CHRISTINE)
Yes, you did well. He will be pleased.
(to the DANCERS)
And you! You were a disgrace tonight! Such ronds de
jambe! Such temps de cuisse!
Here we rehearse. Now!
(She emphasizes this with her cane.
The BALLET GIRLS settle into rehearsal upstage, GlRY
keeping time with her stick. Variations on this continue
throughout the scene)

(CHRISTINE moves slowly, downstage, away from the
DANCERS as her dressing room becomes visible.
Unseen by her, MEG also moves away and follows her.
As CHRISTINE is about to open the dressing room door,
she hears the PHANTOM's voice out of nowhere)

PHANTOM'S VOICE
Bravi, bravi, bravissimi . . .

(CHRISTINE is bewildered by the voice. MEG,
following, has not heard it. CHRISTINE turns in
surprise, and is relieved to see her)

Angel of music

MEG
Where in the world
have you been hiding?
Really, you were
perfect!

I only wish
I knew your secret!
Who is this new
tutor?

CHRISTINE (abstracted, entering the dressing room)
Father once spoke
of an angel . . .
I used to dream he'd
appear . . .

Now as I sing,
I can sense him . . .
And I know
he's here . . .
(trance-like)

Here in this room
he calls me softly . . .
somewhere inside . . .
hiding . . .

Somehow I know
he's always with me . . .
he - the unseen
genius . . .

MEG (uneasily)
Christine, you must have
been dreaming . . .
stories like this can't
come true . . .

Christine, you're talking
in riddles . . .
and it's not
like you . . .

CHRISTINE (not hearing her, ecstatic)
Angel of Music!
Guide
and guardian!
Grant to me your
glory!

MEG (to herself)
Who is this angel?
This . . .

BOTH
Angel of Music!
Hide no longer!
Secret and strange
angel . . .

CHRISTINE (darkly)
He's with me, even now . . .

MEG (bewildered)
Your hands are cold . . .

CHRISTINE;
All around me . . .

MEG
Your face, Christine,
it's white . . .

CHRISTINE
It frightens me . . .

MEG
Don't be frightened . . .

(THEY look at each other The moment is broken
by the arrival of GIRY)

GIRY
Meg Giry. Are you a dancer? Then come and
practice.

(MEG leaves and joins the DANCERS)
My dear, I was asked to give you this.

(She hands Christine a note, and exits.
CHRISTINE opens it and reads)

CHRISTINE
A red scarf . . . the attic . . . Little Lotte . . .

Scene 3
CHRISTINE 'S DRESSING ROOM

(Meanwhile RAOUL ANDRE, FIRMIN, and MME.
FIRMIN are seen making their way towards the dressing
room, the MANAGERS in high spirits, bearing
champagne)

ANDRE
A tour de force! No other way to describe it!

FIRMIN
What a relief ! Not a single refund!

MME. FIRMIN
Greedy.
ANDRE
Richard, I think we've made quite a discovery in Miss
Daaé!

FIRMIN (to RAOUL, indicating CHRISTINE 'S
dressing room)
Here we are, Monsieur le Vicomte.

RAOUL
Gentlemen if you wouldn't mind. This is one visit I
should prefer to make unaccompanied.

(He takes the champagne from FIRMIN)

ANDRE
As you wish, monsieur.

(They bow and move off)

FIRMIN
They appear to have met before . . .

(RAOUL knocks at the door and enters)

RAOUL
Christine Daaé, where is your scarf?

CHRISTINE
Monsieur?

RAOUL
You can't have lost it. After all the trouble I took.
I was just fourteen and soaked to the skin . . .

CHRISTINE
Because you had run into the sea to fetch my scarf.
Oh, Raoul. So it is you!

RAOUL
Christine.

(They embrace and laugh. She moves away and sits at her
dressing table)

Little lotte

RAOUL
"Little Lotte let her mind wander . . ."

CHRISTINE
You remember that, too . . .

RAOUL (continuing)
". . . Little Lotte thought: Am I fonder
of dolls . . ."

BOTH (CHRISTINE joining in)
". . . or of goblins,
of shoes . . ."

CHRISTINE
". . . or of riddles.
of frocks . . ."

RAOUL
Those picnics in the attic . . .
". . . or of chocolates . . ."

CHRISTINE
Father playing the violin . . .

RAOUL
As we read to each other
dark stories of the North . . .

CHRISTINE
"No what I love best, Lotte said,
is when I'm asleep in my bed,
and the Angel of Music sings songs in my
head!"

BOTH
". . . the Angel of Music sings song in my
head!"

CHRISTINE (turning in her chair to look at him)
Father said, "When I'm in heaven, child, I will send the
Angel of Music to you". Well, father is dead, Raoul, and
I have been visited by the Angel of Music.

RAOUL
No doubt of it. And now we'll go to supper!

CHRISTINE
No, Raoul, the Angel of Music is very strict.

RAOUL
I shan't keep you up late!

CHRISTINE
No, Raoul . . .

RAOUL
You must change. I must get my hat. Two minutes Little
Lotte.

(He hurries out)

CHRISTINE (calling after him)

Raoul!

(quietly picking up her hand mirror)

Things have changed, Raoul.

(Tremulous music. CHRISTINE hears the
PHANTOM'S voice, seemingly from behind her dressing
room mirror)

Angel of music reprise

PHANTOM'S VOICE
Insolent boy!
This slave
of fashion
basking in your
glory!

Ignorant fool!
This brave
young suitor,
sharing in my
triumph!

CHRISTINE (spell-bound)
Angel! I hear you!
Speak -
I listen . . .
stay by my side,
guide me!

Angel, my soul was weak -
forgive me . . .
enter at last,
Master!

PHANTOM'S VOICE
Flattering child,
you shall know me,
see why in shadow
I hide!

Look at your face
in the mirror -
I am there
inside!

(The figure of the PHANTOM becomes discernible
behind the mirror)

CHRISTINE (ecstatic)
Angel of Music!
Guide and guardian!
Grant to me your
glory!

Angel of Music!
Hide no longer!
Come to me, strange
angel...

PHANTOM'S VOICE
I am your Angel ...
Come to me: Angel of Music ...

(CHRISTINE walks towards the glowing,
shimmering glass. Meanwhile, RAOUL has
returned. He hears the voices and is puzzled. He
tries the door It is locked)

RAOUL
Whose is that voice . . .?
Who is that in there . . .?

(Inside the room the mirror opens. Behind it, in
an inferno of white light, stands the PHANTOM.
He reaches forward and takes CHRISTINE firmly,
but not fiercely, by the wrist. His touch is cold,
and CHRISTINE gasps)

PHANTOM
I am your Angel of Music . . .
Come to me: Angel of Music . . .
(CHRISTINE disappears through the mirror,
which closes behind her The door of the dressing
room suddenly unlocks and swings open, and
RAOUL enters to find the room empty)

RAOUL
Christine! Angel?!!!!

Scene 4
THE LABYRINTH UNDERGROUND

(The PHANTOM and CHRISTINE take their
strange journey to the PHANTOM'S lair. Candles
rise from the stage. We see CHRISTINE and the
PHANTOM in a boat which moves slowly across
the misty waters of the underground lake)

Phantom of the Opera

London Cast lyrics

CHRISTINE
In sleep
he sang to me,
in dreams
he came . . .
that voice
which calls to me
and speaks
my name . . .
And do
I dream again?
For now
I find
the Phantom of the Opera
is there -
inside my mind . . .

PHANTOM
Sing once
again with me
our strange
duet . . .
My power
over you
grows stronger
yet . . .

And though
you turn from me,
to glance
behind,
the Phantom of the Opera
is there -
inside your mind . . .

CHRISTINE
Those who
have seen your face
draw back
in fear . . .
I am
the mask you wear . . .

PHANTOM
It's me
they hear . . .

BOTH
Your/my spirit
and your/my voice,
in one
combined:
the Phantom of the Opera
is there
inside your/my mind . . .

OFFSTAGE VOICES
He's there,
the Phantom of the Opera . . .
Beware
the Phantom of the Opera . . .

PHANTOM
In all
your fantasies,
you always
knew
that man
and mystery . . .

CHRISTINE
. . . were both
in you . . .

BOTH
And in
this labyrinth,
where night
is blind,
the Phantom of the Opera
is there/here
inside your/my mind . . .

Sing, my Angel of Music!

CHRISTINE
He's there,
the Phantom of the Opera . . .

(She begins to vocalize strangely, her song becoming
more and more extravagant.)

Sarah Brightman & Steve Harley lyrics

Christine (Sarah)

Beneath the opera house
I know he's there.
He's with me on the stage,
He's everywhere.
And when my song begins,
I always find
The phantom of the opera is there
Inside my mind.

The phantom (Steve)

Sing once again with me
Our strange duet.
My power over you
Grows stronger yet.
You'll give your love to me
For love is blind.
The phantom of the opera is now
Your mastermind.

Christine

Those who have seen your face
Draw back in fear;
I am the mask you wear,

The phantom

It's me they hear.

Christine / Phantom

Your/My spirit and my/your voice
In one combined
The phantom of the opera is there
Inside my/your mind

Choir (very, very soft)

The phantom of the opera
Is there
The phantom of the opera

The phantom

Sing once again with me
Our strange duet.
My power over you
Grows stronger yet.

Christine / Phantom

I'll/You'll give my/your love to you/me
For love is blind.
The phantom of the opera is now
My/Your mastermind.

The phantom (spoken)

Sing, my angel of music ...

Christine

He's there,
The phantom of the opera.

Christine starts wailing

The phantom (spoken)

Sing ...
Once again with me, our strange duet.
My power over you grows stronger and stronger.
Sing ...
My angel of music/
Sing!
Sing our strange duet -
Sing!

Christine continues wailing,
and keeps on wailing after every
sentence the Phantom sings

The phantom (spoken)

The phantom of the opera
Is now your mastermind;
I am here, inside your mind!
I am everywhere!
You're in my power.
Sing!
Sing, my angel of music!
Sing! Sing!

Music of the Night

Scene 5
BEYOND THE LAKE THE NEXT MORNING

(Finally they arrive in the PHANTOM'S lair. Downstage
the candles in the lake lift up revealing giant
candelabrums outlining the space. The boat turns into a
bed. There is a huge pipe organ. The PHANTOM sits at
the organ and takes over the accompaniment)

PHANTOM
I have brought you
to the seat of sweet
music's throne . . .
to this kingdom
where all must pay
homage to music . . .
music . . .

You have come here,
for one purpose,
and one alone . . .
Since the moment
I first heard you sing,
I have needed
you with me,
to serve me, to sing,
for my music . . .
my music . . .

(music start)

London cast lyrics

Night-time sharpens,
heightens each sensation . . .
Darkness stirs and
wakes imagination . . .
Silently the senses
abandon their defenses . . .

Slowly, gently night unfurls its splendor...
Grasp it, sense it - tremulous and tender...
Turn your face away from the garish light of day,
Turn your thoughts away from cold, unfeeling light -
And listen to the Music of the Night...

Close your eyes and surrender to your darkest dreams!
Purge your thoughts of the life you knew before!
Close your eyes, let your spirit start to soar!
And you'll live as you've never lived before...

Softly, deftly,
music shall surround you . . .
Feel it, hear it,
closing in around you . . .
Open up your mind,
let your fantasies unwind,
in this darkness which
you know you cannot fight -
the darkness of
the music of the night . .

Softly, deftly, music shall caress you...
Feel it, hear it, closing in around you...
Open up your mind, let your fantasies unwind,
In this darkness which you know you cannot fight -
The darkness of the Music of the Night...

Let your mind
start a journey through a
strange new world!
Leave all thoughts
of the world
you knew before!

Let your soul
Take you where you
long to be !
Only then
can you belong
to me . . .

Floating, falling,
Sweet intoxication!
Touch me, trust me
Savor each sensation!

Let the dream begin,
Let your darker side give in

To the power of the music that I write -
The power of the music of the night . . .

You alone can make my song take flight -
Help me make the music of the night .

Sarah Brightman's Lyrics

Nighttime sharpens,
heightens each sensation
Darkness stirs and
wakes imagination
Silently the senses
abandon their defenses

Slowly, gently, night unfurls its splendor
Grasp it, sense it, tremulous and tender
Turn your face away from the garish light of day
Turn your face away from cold, unfeeling light
And listen to the music of the night

Close you eyes and surrender to your darkest dreams
Leave all thoughts of the world you knew before
Close your eyes, let your spirit start to soar
And you'll live as you've never lived before

Softly, deftly,
music shall caress you
Hear it, feel it,
secretly possess you
Open up your mind,
let your fantasies unwind
In this darkness which
you know you cannot fight
The darkness of the music of the night

Let your mind start a journey through a strange, new world
Leave all thoughts of the world you knew before
Let your soul take you where you long to go
Only then can you belong to me

Floating, falling, sweet intoxication
Touch me, trust me, savor each sensation
Let the dream begin, let your darker side give in
To the harmony which dreams alone can write
The power of the music of the night

You alone can make my song take flight
Help me make the music of the night

Michael Crawford's Lyrics

Guy: Night-time sharpens,
heightens each sensation . . .
Darkness stirs and
wakes imagination . . .
Silently the senses
abandon their defenses . . .

Helpless to resist the notes I write
For I compose the music of the night

Girl: Slowly, gently night unfurls its splendor...
Grasp it, sense it - tremulous and tender...

Both: Hearing is believing music is deceiving
Hard as lightning soft as candle light-
Guy: Dare you trust the Music of the Night...

Girl: Close your eyes for your eyes will only tell the truth
Both: And the truth isn't what you want to see
In the dark it is easy to pretend
That the truth is what it ought to be

Guy: Softly, Girl: deftly,
Both: Music shall caress you . . .
Girl: Hear it, Guy: feel it,
Both: Secretly poses you . . .
Open up your mind,
Let your fantasies unwind,
in this darkness which
you know you cannot fight -
the darkness of
the music of the night . .

Both: Close your eyes start a journey threw a strange new world
Leave all thoughts of the world you new before
Close your eyes, and let music set you free
Only then can you belong to me...

Both: Floating, falling,
sweet intoxication!
Guy: Touch me Girl echo: Touch me, Guy: trust me Girl echo: trust me
savor each sensation!

Both: Let the dream begin,
let your darker side give in

to the power of the music that I write -
the power of the music of the night . . .

Ahh ahh ahhh ahhh ahhh

Guy: You alone can make my song take flight -
Girl: You
Guy: Help me make the music of the night.......
Girl: Help me make the music of the
Both: Night.......

(During all this, the PHANTOM has conditioned
CHRISTINE to the coldness of his touch and her fingers
are brave enough to stray to his mask and caress it, with
no hint of removing it. The PHANTOM leads her to a
large mirror from which he removes a dust cover and in
which we see the image of CHRISTINE, a perfect wax-
face impression, wearing a wedding gown. CHRISTINE
moves slowly towards it when suddenly the image thrusts
its hands through the mirror towards her She faints. The
PHANTOM catches her and carries her to the bed, where
he lays her down.)

Scene 6