Read The Phantom of the Opera by Gaston Leroux Ralph Cosham Online

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First published in French as a serial in 1909, "The Phantom of the Opera" is a riveting story that revolves around the young, Swedish Christine Daaé. Her father, a famous musician, dies, and she is raised in the Paris Opera House with his dying promise of a protective angel of music to guide her. After a time at the opera house, she begins hearing a voice, who eventually tFirst published in French as a serial in 1909, "The Phantom of the Opera" is a riveting story that revolves around the young, Swedish Christine Daaé. Her father, a famous musician, dies, and she is raised in the Paris Opera House with his dying promise of a protective angel of music to guide her. After a time at the opera house, she begins hearing a voice, who eventually teaches her how to sing beautifully. All goes well until Christine's childhood friend Raoul comes to visit his parents, who are patrons of the opera, and he sees Christine when she begins successfully singing on the stage. The voice, who is the deformed, murderous 'ghost' of the opera house named Erik, however, grows violent in his terrible jealousy, until Christine suddenly disappears. The phantom is in love, but it can only spell disaster. Leroux's work, with characters ranging from the spoiled prima donna Carlotta to the mysterious Persian from Erik's past, has been immortalized by memorable adaptations. Despite this, it remains a remarkable piece of Gothic horror literature in and of itself, deeper and darker than any version that follows....

Title : The Phantom of the Opera
Author :
Rating :
ISBN : 9781441700261
Format Type : Audiobook
Number of Pages : 303 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

The Phantom of the Opera Reviews

  • Emily May
    2018-11-07 01:00

    Persons who are visited by the Angel quiver with a thrill unknown to the rest of mankind. And they cannot touch an instrument or open their mouths to sing, without producing sounds that put all other human sounds to shame.Erik, AKA The Phantom of the Opera, is Paris's answer to Heathcliff. This book is a darkly romantic tale of a man's descent into violence and madness, and the woman who forms the obsession at the centre of his life.I should probably confess: I am a shameless lover of The Phantom of the Opera musical, which I have seen so many and not enough times, as well as the 2004 movie version starring Gerard Butler and Emmy Rossum. I continue to think the story, the setting and the music is one of the most beautiful displays of love, sadness and insanity that I have ever had the pleasure of viewing. It can also be incredibly sexy, but that might have a little something to do with Mr Butler.The musical version is truly wonderful and that is coming from someone who is not a fan of musicals. If you're curious, watch this wonderful scene from the movie: https://www.youtube.com/watch?v=t75ST... There's just so much love, sadness and craziness all wrapped up in just a two and a half minute reprise. Honestly, this story is one of the few things that thaws my cold, unromantic heart.♪ Christine: In the night there was music in my mindAnd through music my soul began to soarAnd I heard like I've never heard beforeRaoul: What you heard was a dream and nothing more.Christine: Yet in his eyes, all the sadness in the world ♪I couldn't help but compare this book to my favourite book of all time - Wuthering Heights. I felt myself drawing so many parallels between the two stories, even though one is a rough and wild story set on the Yorkshire moors and the other is set amid all the finest luxury of nineteenth-century Parisian high society. Both stories create complex villains that earn our pity as well as our disgust. Neither Erik nor Heathcliff is meant to be excused, or even forgiven, for their violent and cruel behaviour, they are not romantic heroes despite the love and passion that fuels both stories. As with Wuthering Heights, this book is about a man who has lived his whole life with nothing but cruelty and hatred from others (in this case, due to his facial disfigurement). His own mother presented him with a mask so she didn't have to look upon his face. Erik becomes obsessed with Christine Daae - the object of his love and desire - and makes her the centre of his universe. But no man or phantom or angel of music can suffer through a loveless childhood and years of being a freakshow attraction without developing some serious issues. And the phantom, quite frankly, is as mad as he is a musical genius.Erik manipulates, terrorizes and even kills to fulfill his mission of furthering Christine Daae's career in the Opera House. He really is the best kind of character - twisted, complex, angry and evil, but I don't think we ever really hate him. I like how this book doesn't turn into something akin to a modern day YA romance where the heroine falls for the bad dude anyway because it's TRU WUV; that isn't the story being told here. Erik is not a hero, but a monster. And this is the monster's story.It is the monster's deep, crazed, unrequited love that makes him human to the reader. I don't want Christine to be with him, that would weaken the true power of the story... but nevertheless, I had to fight back tears when he says:"And yet I am not really wicked. Love me and you shall see! All I wanted was to be loved for myself. If you loved me, I should be as gentle as a lamb; and you could do anything with me that you pleased."The *almost* ending scene is my favourite in the musical, the movie and now in the book too. The movie's sad reprise of the song Masquerade sung by the phantom just hits me in the heart every time:Masquerade...Paper faces on paradeMasquerade...Hide your face so the world will never find you.A beautiful book.Blog | Leafmarks | Facebook | Twitter | Instagram | Tumblr

  • Fabian
    2018-11-02 05:44

    Excellent, marvelous, phantasmagorical (ha-ha!) PERFECTION. This is a true House of Horrors, perhaps the best one ever orchestrated (discounting EAPoe). Yes, EVER. The prose is so simple, so readable, that the barest of essentials are there, in all their power and glory: the haunted house, the victim/lover, the victimizer/lover, the clandestine meetings, the haunted past, the switch-over of protagonists, the uncertainty caused by an elegant overflow of optical illusions, the Victorian conventions all intended to spook the hell out of a reader totally in awe of the way a classic story can be so expertly conveyed. Both this & "Dracula" are revolutionary in the uberentertaining way in which the plot is given to us: through letters and witness accounts. Yes, the only way to be frightened is to have the monster in the backdrop, a perpetual threat that's under the velvet curtain. It is truly, TRULY (I want to scream out my window!) delicious-- how nobody from the Paris Opera knows exactly what the phantom looks like, how they all put up their own fears projected unto the myth (who, I must admit, is a true turn-of-the-century bad-ass-- a Micheal Myers combined with Hannibal Lecter... you must meet this version-- he's a more maniacal and romantic phantom than the musicals!). I could not ask for more in a book, its brevity is bittersweet (you wish there were more details, more certainties... this effect, of course, is genius); its use of freak show conventions are all aligned beautifully. This is a masterpiece to be savored!UPDATE: just caught the show this last Wednesday night (9/7/16) at the Buell. No musical is as technically rich as this one (which is SO like the Phantom himself). It IS the decade of the 80s-its very opulent (quint)essence! And this is the decade of my birth...

  • Ana
    2018-10-29 05:41

    {BR with the lovely british lady Hayat}3.5 Le Fantôme Stars “If I am the phantom, it is because man's hatred has made me so. If I am to be saved it is because your love redeems me.”One of my New Year's resolutions is to read more classics. The Phantom of the Opera is a novel I've been meaning to read for a long time. If I was forced to choose a favorite musical, I would probably choose The Phantom. First time I saw it was with my mom, almost 10 years ago. I instantly fell in love with the songs. They are incredibly beautiful and have a deeply sad, but hopeful meaning. The Phantom of the Opera is a wonderful tale about tragic love, loneliness, betrayal, forgiveness and redemption. At times heartbreaking, at other times inspiring. Oh Christine. Oh, dear, infuriating girl. You chose the wrong man. Despite her beauty and talent, Christine is an underdeveloped and shallow character. I don't hate her, but I don't love her either. Raoul. Can you say whiny? Ugh. I found him annoying and childish. I don't care Raoul. You are an immature scoundrel.Who is my favourite character? The Phantom himself. He is a complex and fascinating tragic character. Erik is a brilliant composer forced to hide in the shadows due to his facial deformities. He leads a sinister, lonely existence in the sewers underneath the Paris Opera House. I couldn't help but pity him for his desperate longing. I find him a very sympathetic villain. I could not believe how he survived his childhood. You know what he is doing is wrong, but you can understand where he is coming from. Let me put it this way- he begins as the villain and ends as the hero.In conclusion, the book is well worth reading. It is well-written and heartbreaking. Let it sweep you off to the bright lights of the Paris Opera. Shall we pity him? Shall we curse him? He asked only to be "some one,"like everybody else. But he was too ugly! And he had to hide hisgenius or use it to play tricks with, when, with an ordinary face,he would have been one of the most distinguished of mankind! He hada heart that could have held the empire of the world; and, in the end,he had to content himself with a cellar. Ah, yes, we must needspity the Opera ghost.

  • Bookdragon Sean
    2018-11-07 07:52

    The Phantom’s greatest tragedy in life is the fact that he came so close to gaining the heart of the girl he loved, a sense of acceptance he has wanted for an entire lifetime, but because of his scarred and damaged soul he did nothing but terrify her; ultimately, shattering the initial allure and glamour she felt in his presence. In the vein of Frankenstein and Heathcliff, Erik’s shattered visage, his ruined face, permeates his soul. Society, humanity, perceives his appearance as evil and twisted; thus, he takes on these traits in a cruel mockery of what is expected of him: he becomes the very thing he is branded as. And it becomes his most powerful weapon and it also becomes his downfall. He is beyond bitter. He is beyond twisted. His heart oozes with venom for a world that has always shunned him and left him an outcast in the darkness. The Phantom of the Opera is a tragedy in every sense of the word. All the Phantom ever wanted was love and when he finally finds it, it practically destroys him. It pushes him out of the shadows and makes him bold; it makes him yearn for what he thought impossible. And he acts. He sees his chance, the very essence of what has brought his voice and his soul back to life is before him, and he seizes it albeit too forcefully. He becomes vicious, demanding and overwhelming. The loneliness of his soul dominates his faculties. He loses the cold, practical, cunning that has kept him alive for so long and follows the unthinking possessive whims of his heart. "And yet I am not really wicked. Love me and you shall see! All I wanted was to be loved for myself. If you loved me, I should be as gentle as a lamb; and you could do anything with me that you pleased."Such words are uttered with the utmost truth and geniality. Erik comes forth into the light. In this moment he casts aside the guise of The Phantom and reveals his vulnerability and his ability to rejuvenate to Christine. He puts his heart out there, but like everything is his life love is illusory. In his misguided state he drastically misunderstands the situation and his erratic behaviour destroys any chance he ever could have had. His love has power, but he fails to understand that not everybody is as painfully desperate as he. Leroux clearly loved opera houses and his phantom is beautifully dark concept. His descriptions of the theatre are vivid and verging on the enchanting. His prose is smooth and faultless, though his pacing is poor and the plot is weighed down with many non-essential characters that over complicate the situation. I love the story here, though the execution falls short of the faultlessness you would expect when you consider the sheer strength that surrounds the central plot and characters. For me, the Phantom will always be better on the stage. The true pain of Erik’s soul pours out of the music and wrenches the hearts of the audience. The final scenes, the reality of the ending, place the story on the fringes of the modernist movement and show that romance is not always storybook despite how our hearts may yearn otherwise.

  • Madeline
    2018-10-31 07:56

    Before we start off, let me clarify something: because I can't be bothered to create a "the Broadway stage adaptation is better" shelf, my "the movie is better" shelf will have to suffice here. The Phantom of the Opera, the show, is a giant, absurd, bombastic display of every bad misconception of theater, and is the main reason Andrew Lloyd Weber is able to fall asleep on a bed made of money every night. It's not my favorite show, is what I'm saying - in fact, I don't even really like the show, come to think of it (which begs the question of why I read this book in the first place, but whatever). So, with all that in mind, Madeline Reviews Inc now presents:Why The Phantom of the Opera the Book Is, Somehow, Worse Than The Stage Show And Every Movie Version Released So Far-Everyone in the book is a moron. Like, even more than they are in the show. I got about halfway through the book when I realized, "Wait a minute, was I supposed to be surprised by the revelation that the Phantom and Christine's tutor are the same guy? Haven't we known that from, like, page twenty?" Even if I hadn't seen any other versions, I feel sure I would have figured it out - come on, the story is about people trying to learn the identity of a mysterious, invisible guy and the title of the book is The Phantom of the Opera. Were Gaston Leroux's readers really that stupid? -Annoying characters from the show are even more annoying here. Christine is still a useless twit, and in this version comes upgraded with zero observation skills and a seriously misguided sense of priorities. When she admits to Raoul (after like two months of bullshit) that the Phantom scares the hell out of her and she wants to escape him, Raoul makes the very sensible point that maybe she should stop wearing the ring the Phantom gave her. Christine's response: "That would be deceitful." GAAAAAAHHHHH. Raoul is even worse. In the show, he's simply a well-meaning schmuck who fails spectacularly at saving Christine every opportunity he gets. In the book, he's a selfish dick. This is a paraphrased account of an interaction between him and Christine: Raoul: "Christine, I know there's something super weird going on with this guy you're running off to see, and I want you to tell me what's up because I love you and want to protect you."Christine: "It's too dangerous, I can't tell you."Raoul: "OMG YOU'RE IN LOVE WITH HIM AREN'T YOU? WELL FINE, I DON'T CARE. I HOPE YOU DIE, YOU LYING WHORE." -We never get to see anything from Christine's perspective. This is important, because in the book she spends at least two months as the Phantom's prisoner, and all we get is her description, later, of what it was like. Instead of seeing the Phantom through Christine's eyes, where he might have been a more compelling character, we just get to watch Raoul follow her around like a creeper and then listen to Christine give lengthy expositional speeches after events happen. -The Phantom isn't actually that cool. He's always bursting into tears and begging Christine to love him, and the rest of the time he's so incredibly misguided about his relationship with Christine that it's almost funny. He comes off sounding like one of those perverts on cop shows who insists that he and the ten-year-old locked in his basement actually have a very special and loving relationship, while the cops are just looking at him like, that's nice, man, but your ass is still going to jail. -There are way more characters than we need, and a lot of them are different (read: worse) than they are in the show. Madame Giry, last seen as a cool, commanding ballet mistress, is merely a crazy old woman who works for the Phantom because he deceived her with the most idiotic lie ever. The book also features The Persian, a guy who literally hangs around the Opera and shows up whenever it's thematically necessary. He might as well have been named Deus Ex Machina. -Leroux's pacing sucks. Any drama is instantly ruined by his digressions or abrupt scene-changing, and all momentum is lost. When the Phantom kidnaps Christine after her final performance, the story is going along well, everyone's freaking out and trying to find her, and then Leroux pops up. "Hey!" he says, "You guys remember how on page 20 I told you that the new managers have to pay the Phantom 20,000 francs once a month? I bet you guys are wondering how that's going, huh? Let's check in with them quick." And before you can say, no, Gaston, I actually wasn't wondering that at all, he makes you slog through two goddamn chapters about the new managers trying to figure out how the Phantom collects their money. Similarly, once Raoul and the Persian have gone after the Phantom and are almost at his lair (a journey that takes way, way too long) they get locked in his torture chamber (which involves torture so stupid I won't even describe it) and the plot comes to a damn standstill as Raoul and the Persian spends hours trapped there. It made me actually long for the show, where everything skips along at a fast clip and the worst digressions are five-minute love songs. -The ending is stupid. Christine gets the Phantom to release her and Raoul (after a lengthy imprisonment that, again, we only get to hear about rather than see), not by having a sexy quick makeout session with him, but by crying with him. That's it. The Phantom kisses her (on the forehead), bursts into tears, and Christine cries with him. This somehow convinces the Phantom that she loves Raoul and that he should let them go, and that's how the Phantom is defeated. I am in no way joking. In the interest of fairness, the book has two good things going for it:One, Leroux's portrayal of the opera house as a sprawling, complex maze that's a contained city is pretty incredible, and he's at his best when he's describing all the intricacies and hidden secrets of the opera house. And two, at least in the book, we are never subjected to a performance of Don Juan Triumphant. Thank you, Jesus.

  • Pramod Nair
    2018-11-06 07:53

    “And, despite the care which she took to look behind her at every moment, she failed to see a shadow which followed her like her own shadow, which stopped when she stopped, which started again when she did and which made no more noise than a well-conducted shadow should.” Gaston Leroux - who popularized an entire sub-genre of detective fiction called ‘locked room mystery’ through his works like 'The Mystery of the Yellow Room' and his fictional amateur sleuth, Joseph Rouletabille - is most renowned for his suspense/ romance/ drama novel 'The Phantom of the Opera'; easily one among the most adapted novels in literary history. Originally published as a series in French daily newspaper ‘Le Gaulois’ between 1909 and 1910, this terrific tale of suspense and maniacal passion was published as a novel in 1910. This romantic drama with a dark angle narrates the love triangle between the key characters of Christine, an opera singer; Erik, a man with a horrible facial deformity and who is living unknown to others in the Opera house, introduces himself just as a ‘voice’ to her initially and trains her in fine tuning her singing; and Raoul, her childhood friend who is in love with her. The passion and possessiveness arising from the love and a string of violent and terrifying events that happen in an Opera house in which the legend of an ‘Opera Ghost’ is thriving drives this story forward. Erik, who had been never loved – even by his mother due to his physical deformities – finds love in Christine and this lonely man becomes so mad and jealous with his obsessive love for Christine that through his character Leroux portrays the infinite capacity of human mind in generating evil and his tale is an inspection at the depths of darkness that a soul can possess. This is a Gothic tale of mad passions and the setting of the underground rooms of the Opera house matches the chilling atmosphere that the tale exudes. I will not go much into the story-line in this review, as it will spoil the experience of reading this book but I can assure the prospective reader one thing, the anti-hero characterization of Erik is one of among the best; the terror, the evil, the fear and the malice that he generates all is brilliantly balanced with the pity and sadness that the reader feel towards him further into the book. The illustratorIt was a decade and half ago that I read ‘The Phantom of Opera’ for the first time, but recently I came across a 1911 first US edition copy of this title published by Bobbs-Merrill. When the book was originally published in 1910 titled Le Fantôme de l'Opéra in French, it was accompanied by five oil paintings by French illustrator and artist André Castaigne. The US edition of 1911 had three of these original five oil paintings reproduced on art paper plates and these paintings capture the eerie atmosphere of the story brilliantly. The French artist and engraver Jean André Castaigne, who was the original illustrator for the first edition of The Phantom of the Opera. This is an anonymous Portrait of Castaigne from ‘The Charcoal Club’ in Baltimore, USA, 1893André Castaigne was a master illustrator and painter who drew humans, animals, architecture and landscapes with equal flair and illustrated extensively for both French and American publications.One of the oil paintings that Castaigne did for the original 1910 first edition, depicting the below scene from novel "He said to you, 'Christine, you must love me!'" At these words, a deathly pallor spread over Christine's face, dark rings formed round her eyes, she staggered and seemed on the point of swooning. Raoul darted forward, with arms outstretched, but Christine had overcome her passing faintness and said, in a low voice: "Go on! Go on! Tell me all you heard! " At an utter loss to understand, Raoul answered: "I heard him reply, when you said you had given him your soul, 'Your soul is a beautiful thing, child, and I thank you. No emperor ever received so fair a gift. The angels wept tonight.'"The Phantom of Opera - A clever blend of fact and fictionGaston Leroux in a clever manner infused real locations and actual events from history to make his novel more credible and more mysterious, and fact and fiction overlaps in this novel to form an atmosphere of misty unknown. Let’s inspect a few such elements that Leroux took from actuality to fuel his imagination.Gaston Leroux used the ‘Palais Garnier’ opera house as the setting for his novel and some of the rumors and architectural elements associated with this real life monument allowed Leroux to infuse a sense of authority or reality to his fictional work.Uncovered facade of the Palais Garnier on 15 August 1867"The house broke into a wild tumult. The two managers collapsed in their chairs and dared not even turn round; they had not the strength; the ghost was chuckling behind their backs! And, at last, they distinctly heard his voice in their right ears, the impossible voice, the mouthless voice, saying: 'SHE IS SINGING TO-NIGHT TO BRING THE CHANDELIER DOWN! ' With one accord, they raised their eyes to the ceiling and uttered a terrible cry. The chandelier, the immense mass of the chandelier was slipping down, coming toward them, at the call of that fiendish voice. Released from its hook, it plunged from the ceiling and came smashing into the middle of the stalls, amid a thousand shouts of terror. A wild rush for the doors followed. The papers of the day state that there were numbers wounded and one killed. "An Engraving of the main auditorium chandelier of the Paris Opera's Palais Garnier; The design was by Charles Garnier and the engraving is believed to be by J. Bénard and C. LapiauteOn 20 May 1896, one of the counterweights that keep this 7-ton bronze and crystal chandelier stable broke free and burst through the ceiling into the auditorium, killing a member of the audience. Gaston Leroux was inspired by this tragic accident to create one of the most famous scenes in the novel.The concept of the subterranean lake under the Opera House is also based on some truth as when the site was excavated in 1862, the groundwater level was found unexpectedly high and despite some heavy duty attempts in draining this water from the swampy work site, the site was not dried up completely and a special double foundation had to be designed to take care of this groundwater seepage. The subterranean water body underneath Palais Garnier, taken from Google Street view. You can Inspect this in detail here: https://goo.gl/maps/NocxbwxPV2zAn enormous concrete cistern, which was built to take control of this situation, formed a reservoir of water and Gaston Leroux was inspired by the rumor, which soon spread around Paris stating that there is an enormous underground lake beneath the Palais Garnier. And the large cellars that act as the technical rooms of the building along with its alcoves and arches could have inspired him into creating the plot element that the phantom lived underneath the Opera house.The Numerous AdaptationsChristine: "You. You are the Phantom!"The Phantom: "If I am the Phantom, it is because man's hatred has made me so. If I shall be saved, it will be because your love redeems me."There have been a multitude of adaptations for ‘The Phantom of the Opera’ – into both adult and children’s literature, dramas, musicals, movies, television shows and comic books – and I would wish to inspect two specific adaptations here; the 1925 movie adaptation and the famous Andrew Lloyd Webbermusical based on the novel.In 1925, Rupert Julian, the New Zealand cinema actor, director, writer and producer directed a movie adaptation starring Lon Chaney, Sr as Phantom and Mary Philbin as Christine. Lon Chaney Sr. and Mary Philbin in "The Phantom of the Opera", 1925 FilmThis was a faithful adaptation of the book with some plot differences only and was a box office success. I chose this adaptation for mention because of the famous ‘unmasking’ scene - the scene in which while Erik is playing the organ, Christine creeps up behind him to snatch his mask off – a movie scene, which can be easily stated as one of the most memorable moments in the history of films. The famous unmasking the phantom sceneSince the movie is on the public domain you can watch this scene from YouTube - https://www.youtube.com/watch?v=sa3bH....When it came out in 1925, this scene was the apex of horror and the make up that was used on Lon Chaney was much acclaimed and frightening. It is also one of the closest characterizations of Phantom, based on the book. From today’s standard this scene may not have even the slightest iota of horror in it as we have outgrown fear for such visuals with over exposure but at that time this scene when watched in a dark movie house could have been quiet startling and one of the promotional tricks that the movie used was that the theaters were asked to keep smelling salts ready in case someone from the audience watching the scene actually fainted.A publicity photo of Steve Barton and Sarah Brightman in the final scene of ‘The Phantom of the Opera’ musical.Andrew Lloyd Webber’s musical adaptation opened in London's West End in 1986, and on Broadway in 1988 and is the longest running show in Broadway history with over 10,000 Broadway performances and a worldwide total gross collection of over $5.6 billion. ‘The Phantom of the Opera’ may feel overemotional from a modern perspective, but this is a classic mystery and suspense story from a whole different time period, and if as a reader you can have a bit of patience and can take account of this difference in the time-frames, then this work from Leroux can be a satisfying experience. Written - October 31, 2015

  • Candi
    2018-10-19 06:56

    "He is extraordinarily thin and his dress-coat hangs on a skeleton frame. His eyes are so deep that you can hardly see the fixed pupils. You just see two big black holes, as in a dead man’s skull. His skin, which is stretched across his bones like a drumhead, is not white, but a nasty yellow. His nose is so little worth talking about that you can’t see it side-face; and the absence of that nose is a horrible thing to look at. All the hair he has is three or four long dark locks on his forehead and behind his ears."Sounds deliciously creepy, right? Well, no doubt the Opera ghost would have scared the hell out of me if I had ever crossed paths with him! And he was scary; in fact he was downright evil. More evil than I recall from attending a live performance of the musical by the same name many, many years ago. All the elements of a gothic mystery were there; I was intrigued by the corpse-like apparition that was said to haunt the Paris Opera House. Unfortunately, I was more amused than I was terrified while reading this book. I didn’t experience the allure of the gothic atmosphere. The plot was interesting enough and kept me turning the pages. Christine, trained by the Angel of Music, becomes a sensation at the opera house and falls in love with a young man from her past. Raoul has been smitten with Christine since he was a child. One day, a little boy, who was out with his governess, made her take a longer walk than he intended, for he could not tear himself from the little girl whose pure, sweet voice seemed to bind him to her." But the Opera ghost is infatuated with her as well, and will stop at almost nothing to make her his bride. I wasn’t sure how I felt about the phantom. At times I abhorred him; he seemed to have no conscience. The next moment I felt pity towards this unloved and lonely outcast of society. It’s a bit of an adventure in the underbelly of the Opera House and I did enjoy all the literal twists and turns there. The melodrama and the unpolished dialogue disappointed me, however. The characters felt flat, with the exception of the phantom himself. The Persian was a bit intriguing as well. Essentially, it’s a tragic story with an engaging plot, and it’s quite readable. Just not the remarkable story I was looking for, but I’m getting a bit particular about my gothic mysteries. "He asked only to be ‘someone,’ like everybody else."

  • Alex Farrand
    2018-10-25 06:58

    The Phantom of the Opera is about a mystery at the Opera Garnier in Paris, where a soprano singer, Christine Daeé, vanished off the stage one evening. Suspicions lead to the Phantom. Taking the case, our narrator unveils the truth about the Phantom who haunts the opera house with written memoirs, interviews, and other evidence. The narrator finds out that the Phantom was not an apparition, but an eccentric, deformed male named Erik, who lived under the opera house. Did he take the young, beautiful soprano and why?Honestly, what a dark, creepy tale of an overly obsessed, possessive, childlike, deranged lunatic. It was really haunting. I wonder why I thought the movie was romantic. Why did I want Christine to be with the phantom? It must have been the singing, and the mysterious figure played by the handsome (swoon) Gerard Butler. Side note: I fell in love with him watching P.S. I Love You. That accent! Back to the review. He deceived the poor girl, and wanted love in return. When she could not return his love, because of his repulsive nature, he went mad. He had a tantrum, and he reacted in violence. By taking Christine by force, and threatening her life was his only way to get what he wanted. Crazy psychopath! I was really creeped out when Erik started yelling at Chrisitine when she removed his mask the first time. I pitied that masked man in the movie, why did I not here? For the longest time I was yelling at Christine to go. Run away with Rauol. Do something! No, don't go back to him, because you pity him. Stop! He isn't your father! Holy, moly girl do you understand what kind of relationship you are in. You are killing me, Christine! Rauol can help you! Needless to say she did not listen to my voice. I guess it wasn't pretty. This is really an abusive lesson 101 book. The last few chapters I did pity Erik. Once his story was told I could understand. I do not think I could forgive him, but I understood. He wanted to feel compassion, to be loved, which he never felt in his entire life. He wanted to be like everyone else, but like many of us, we are outsiders. (view spoiler)[Erik finally received his wish, and consciously allowed Christine her freedom to do whatever she wished without terrorizing her any further. (hide spoiler)]The audible version I didn't think was so great. The narrator had a lovely voice, but he didn't really try to change inflections with new characters. Sadly, his voice did not grab me, and I tried to really focus on the story. I might have focused too well, which caused some annoyances with the character's behaviors. I think I could have read it myself better, than him reading to me. You may be wondering, why did I give The Phantom of the Opera four stars. Well, to tell you the truth I am unsure of my rating. I was annoyed with the abuse, and the characters, but to feel angry, or annoyed at appropriate places makes me think better of the book. If I didn't have those feelings, I guess, the book didn't do its job. I did like some of the background information that you don't get to see in the movie. For instance, Erik was a ventriloquist, and this allowed him to do a few of his illusions. I am still thinking about the rating, but I will leave it at four stars for now. I just want to add that lyrical content in Andrew Webber's play is superb, and it matches everything that happens in the novel. While reading I did end up buying the soundtrack, and I did listen to it a ton of times. The best part about buying the soundtrack is that my daughter loves the main song, and asks me to replay it. It is very cute watching her dance around. If you want a little craziness in your life, read this book. I will watch the movie, and horribly sing to the soundtrack in my best soprano voice. Read my blog here: www.dancingbetweenthecovers.com. Happy reading.in sleep he sang to me.... edited Jan 29, 2017 I am watching the movie, and it is totally Gerard Butler who I am romanticizing about. *faint*

  • Carol
    2018-10-30 03:47

    THE PHANTOM OF THE OPERA is a fantastic ghostly tale of love with so much more depth (and evil) to the storyline than I remember from either the play or "old" movie.Be prepared for murder by hanging, frequent cries of terror from malicious "accidents", and suicide for just a smidgeon of what will "materialize". But, it's the mysterious Opera Ghost who lurks in the shadows using tricks and illusions to work his many evils behind a mask of horror and smell of death that will grab your attention throughout these pages.This great classic (first published in 1909) is a wonderful haunting read with a dual love story and satisfying ending......oh that first kiss.Note: "The Opera Ghost really existed. He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or a product of the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants or the concierge. Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phantom: that is to say, of a spectral shade. ...........From the author's Prologue

  • Ahmad Sharabiani
    2018-11-06 23:57

    Le Fantôme de l'Opéra = The phantom of the opera, Gaston Lerouxعنوان: شبه اپرا؛ نویسنده: گاستون لورو؛ مترجم: مرتضی آجودانی؛ تهران، کتابهای جیبی، 1343، در 368 ص؛ چاپ دیگر: تهران، علمی فرهنگی؛ 1394؛ در هفده و 491 ص؛ شابک: 9786001215285؛ موضوع: داستانهای نویسندگان فرانسوی - قرن 20 معنوان: شبه اپرا؛ نویسنده: گاستون لورو؛ برگردان: آرش حجازی؛ مهدی حریری؛ تهران، کاروان، 1381؛ در 443 ص؛ شابک: 9647033389؛ چاپ دوم 1382؛ چاپ پنجم 1385؛ نخست فیلم را چند بار دیدم؛ سپس گشتم و ترجمه ی آجودانی را یافتم؛ رمان «شبح اپرا»؛ داستان دل انگیزی در دل خویش نهان دارد؛ خوانشگر و بینشگر هرگزی داستان و صحنه های فیلم و یا کتاب از یادشان به جای دیگر کوچ نمیکنند و نمیروند. یادم مانده که آن دخترک «کریستین» چگونه به آن فرشته ی موسیقی دل باخت. همان فرشته یا شبح خوفناک، که در سردابه های ساختمان اپرا مسکن گزیده بود، و تنها برای شنیدن موسیقی به کنار صحنه میآمد. نیز نام فیلمی موزیکال هم هست که بسیار دیدنی ست، در نوشته های دیگری در باره ی شبح و اینکه او کی بوده، بسیار نوشته و از ایران و دوران ناصری هم یاد کرده اندا. شربیانی

  • Bark
    2018-10-25 06:43

    Well, that was melodramatic.Because I quit a book last week, I forced myself to finish this one. I can finish anything on audio, thought I. I am not a quitter, thought I. But after struggling to focus on this and backtracking 2 hours because I realized I had been daydreaming the entire time, I have come to the realization that the DNF review is not so bad a thing.This read was torturous. I finished it but did not have a good time. “You don’t love me. But you will.”Sorry Erik but no. No I won’t. Feel free to keep trying.“You must know that I am made of death, from head to foot, and it is a corpse who loves you and adores you and will never, never leave you!” Hmmm, slightly tempting. But no. And here’s why:This story has the lovely gothic trappings that one would expect; an opera “ghost” who hides in the shadows, a helpless damsel and loads of secret passageways and hidden rooms where ominous things happen. But . . . It was boring .There, I said it. It’s rather a dry read, goes off on tedious tangents about missing money for hours (felt like hours anyway) and the narration was a wee bit on the stuffy side, making it easy for me to doze off. It also features a love triangle between Christine the beauty, Erik the mentally unstable phantom and Raoul a weepy, boy-man who dissolved into a fit of tears whenever he thought Christine might not share in his insta-love. Note to Raoul: toughen up, man! Your tears are a perfectly good waste of suffering (thank you Clive Barker) and they are not attractive. Poor Christine. She would’ve been better off getting a dog than marrying either of these two.This did not go down well for me. It was a struggle from beginning to end. I was very much expecting to become immersed in the world but instead I couldn’t wait to flee from it.“I am dying of love. “ Erik

  • TheKBSeries
    2018-11-02 02:43

    This book changed my life...I'm so not kidding. I saw the play years before I decided to read this book. I'm so sorry that I waited so long because it was fantastic! I plan to re-read it again! It has everything in it! It's scary, creepy, romantic, sweet, sexy, dark, sad, depressing, etc. This is the third book on my list that I would recommend to anyone that i meet! (having harry potter and the twilight series at number one and two spots. haha) W A R N I N G *MAY be a spoiler in this next paragraph*I love the phantom! He was dark and mysterious. He was that bad guy that you always wanted to love. I do not agree with Christine Daae's choice in the end. I hate who she chose, but yes, i know...it was the better choice.This story remains so dear to my heart. I can relate to almost every character and I truly love the phantom. His intentions were good and he had a good heart...just a bad temper and a bad reason for murder. All he wanted was Christine's love...

  • Vane J.
    2018-11-10 05:00

    “If I am the phantom, it is because man’s hatred has made me so. If I am to be saved it is because your love redeems me.”I believe everyone has at least heard about The Phantom of the Opera. If not for the book itself, then it may be because of the movies. I knew it was a book, and I knew there were movies, but I’ve never watched any of them, and the book I read until now.In any case, if you’ve heard about this story, then you know it’s a tragic one – and indeed, it is.The Phantom of the Opera is the story of Erik – the Angel of Music, the Opera Ghost, etc. – and how his love for Christine Daae gradually turns into sick obsession and madness. At the beginning, he only helps her singing improve, but then, he starts to get obsessed with her and gets jealous because his love is not corresponded, since she loves someone else. That makes him do horrible things that only get worse the more you read.I found myself drawing parallels between this book, Frankenstein and Wuthering Heights. All of them have a hero – or rather antihero – who is not loved by anyone. In Frankenstein, it is the monster, who is hated by everyone because he’s different and not entirely human; in Wuthering Heights, it’s Heathcliff, who was abused because of his gypsy origin; and in this one, it is Erik, whom everyone abhorred because his face is not pretty.In the three books, the abused does monstrous things because of something they want – revenge, love, you name it. All the “heroes” have a reason and some redeeming qualities, and yet, you cannot help but hate them… and then feel bad for them because they actually deserve some love in their lives.Erik won my hatred and my pity. He was treated badly because his face was disfigured. Since his childhood, he was forced to wear a mask so he can hide his face from the eyes of the world. All he wanted was a woman that could love him for what he was and not for his looks. He thought Christine Daae was the chosen one for that, but she was not romantically interested in him, and so, he sinks into madness.As a character, he was fascinating: Complex and flawed. The times when I’ve said I love characters like this are countless, so you should not be surprised to hear me saying I loved him… as a character, because as I said, he also won my hatred.The tragic aspect of the story only made me love this book more. Had it been happy, it would not have felt as realistic… and to be honest, if Christine had fallen for Erik, I would just have ended up mad – I mean, he kidnapped her and killed people so he could have her. Making her fall in love with him would have completely redeemed the character and the entire novel would have gone downhill.In the end, I didn’t forgive Erik’s actions, – just like I never forgave Frankestein’s monster (nor the scientist who created him) and Heathcliff – but I don’t hate him either. Whatever your feels towards Erik are, you have to agree The Phantom of the Opera is an absolute masterpiece.Poor, unhappy Erik! Shall we pity him? Shall we curse him? He asked only to be “some one,” like everybody else. But he was too ugly! And he had to hide his genius OR USE IT TO PLAY TRICKS WITH, when, with an ordinary face, he would have been one of the most distinguished of mankind! He had a heart that could have held the empire of the world; and, in the end, he had to content himself with a cellar. Ah, yes, we must needs pity the Opera ghost.Truly recommended.

  • Henry Avila
    2018-11-17 03:37

    Sorelli, a principal dancer in the beautiful, new, and fabulous Paris Opera House ( circa 1880), is angry, her dressing - room has been invaded, by half a dozen hysterical young ladies, ballet dancers. The frightened performers have seen the legendary Phantom (Ghost), claiming to have noticed a very ugly man, but well dressed, in the passageway. The superstitious but brave woman, opens the door quiet slowly and takes a peek. The shadowy, in gaslight, reddish walls, give a strange ambiance, but there is nothing around, the door is quickly shut ...The new managers don't take seriously the old ones, MM. Debienne and Poligny, warnings of the Phantom, receiving them, as a joke, to amuse Armand Moncharmin, and Firmin Richard, such distinguished gentlemen, playing silly, childish games. The duo will be sorry they did not take their advise . Christine Daae, a young Swedish singer, gives an awe inspiring performance when La Carlotta, the spoiled prima donna, lead soprano singer, at the Opera House, through illness, missed her engagement . And the "man" in box five, falls madly in love with Christine, he is the Phantom( call him Erik), and can help her achieve stardom. Many sightings of this phantom, but he is never caught, after all, how can you stop a ghost? Trapped doors, secret passageways, magic mirrors, voices inside walls, from empty rooms, a lake under the opera house, the intelligent Phantom, knows everything about the gigantic building. A stagehand , is found hanging , lifeless below, in the cellars, he had seen a flaming head, no body , flying by, people thought he was drunk, a heavy chandelier crushes a woman in the audience, and at the farewell dinner, for the old managers, this man with a death mask sits down at the table. No one talks to the weird, unnerving stranger, he tells the gentlemen that Joseph Bouqet, the dead man, didn't commit suicide. And vanishes as fast as he had arrived ... Raoul Vicomte de Chagny, 20, a gentleman who knew Christine, when both were children, loves her too, the jealous Phantom, is not happy. Neither is Phillippe , the Comte de Chagny, and older brother of Raoul, not pleased at all! Erik, kidnaps Christine, descends, deep down, under the dungeon like cellars, the monster has a house on the lake. He plays on a organ, his opera, that he is writing for Christine, a beautiful voice comes out of his deformed head. Christine is curious, when the fiend is playing with his back to her, she lifts the death mask ... a hideous, unbelievable repellent, repugnant, revolting face, she faints away. Meanwhile the frantic Raoul , meets the Persian, a person everyone knows but nobody can say who he is. But immediately, Raoul trust him, trust him he must, he knows where Christine is. The Persian gives him a revolver, takes another and they walk down, into the vast, darkness of the opera house basement, to rescue Christine, first seeing a shadow moving near them, but the Phantom it is not. Then a flying face all a blazed, thundering noises rising, coming closer and closer, they reach the wall and can't go any further , the eerie face approaches, the sound deafening ... thousands of rats, from the blackness, the pair, await their doom.

  • Evelyn (devours and digests words)
    2018-11-16 06:51

    DID NOT FINISH @ 73%What a melodramatic book this is. Lots of swooning, lots of proclamations of love, and lots of unnecessary details that do not add anything to the plot.'Tis where me and the ghost of the opera part ways for good. I will probably never know the original reasons as to why Erik - the ghost, the genius and the mad came to be what he is in the first place. I don't think I care much to find out either way.All the care in the world you can give me and it will still be not enough for me to give a damn for anything or anyone in the book. Everyone in here is repulsive.  That is the main thing that made it so hard for me to get immersed into the story.I will begin with our talented, frail Christine Daae who is in fact a brat through and through. I despise how she manipulated people into her whims - not just any people but people who actually love her and care enough to take in her shit."If you love me just a little, do this for me, for me who will never forget you, my dear Raoul. My life depends on it. Your life depends on it. YOUR LITTLE CHRISTINE."She pulls out the 'If you love me, you will do whatever I say' card not once nor twice and definitely not only on one person. She does this to the Opera ghost too. The gall!The whole story went to hell when Viscount Raoul De Chagny came to visit the opera to watch Daee sing.DENG! DENG! Insta-love!It all but takes one show and some fleeting childhood memories for Raoul to fall head-over-heels with the brat.  He is an idiot. A lovesick, tantrum-throwing idiot. I barely had enough tolerance left in me reading through how he flails his arms about, stomps his foot around and wail about his darling Christine! In the name of love, he comes so close to psychotic. He stalked Christine, hid out in her dressing room, eavesdrops on her, snoops around and.... how does Christine takes it all in? Perfectly normally. This is where I frowned so hard I thought my eyes might disappear into tiny slits.Then there are the side characters who... oh my god.. made a big deal out of every-single-fucking-thing. I love some melodrama but not this much. Not with every scenes coupled with hysterical people screaming about every single thing the ghost does.They sayThe Phantom of The Opera has an underlying message to it. I've discussed the book with a friend who convinced me (and spoiled me) that it is simply not worth it to finish the whole thing. What Erik does in the end is unjustifiable (killing off some people, injuring some more, threatening Christine, & kidnapping her away).Should I pity the misogynistic bastard? NO.You simply cannot wave off all his tortures and his murders just because he was UGLY and sad and angry at the world. How is that supposed to be justifiable? It is a wrong message through and through. Enough said.If there are anyone out there who 'ship' both Christine and Erik / Christine and Raoul together. I am very, very worried for you. None of the romances here are even healthy enough to be supported.With all that said, I suggest just watching the movie and getting yourself immersed in its wonderful opera songs. At least in the movie, the ghost is not martyred to be someone heroic. See more reviews at...

  • PopiTonja
    2018-10-23 06:51

    3.5/5Pocetak mi je bio odlican, obecavao jaku pricu.Kako je prica odmicala kvalitet je padao.Likovi su mi postali prazni, nije se rodila emocija.Kraj postaje bolji ali ne toliko da nesto znatno poveca utisak.Malo jaca trojka. Mnogo sam vise ocekivala.

  • Lauren
    2018-10-28 05:49

    I cannot believe it! I actually liked this book. No, I loved this book. Me, the girl who hates classics. I have to admit I am very shocked by this. This book was so captivating and dark. I'm still shocked that I loved this book. I cannot believe that in the first 10% I was going to DNF this book. I remember when I first heard of this story and I instantly wanted to read it. I tried but I just gave up after reading the first chapter. I just picked it up again and I at first I wanted to quit for good but I carried on and then I was engrossed in the story and just wanted to read this all the time. This book got me so invested and now I actually want to read more classic books. I hope they have a plot and characters just as interesting---PRE-REVIEWI really don’t like classics but for some reason I’m interested in reading this one so I’m gonna try

  • Ashley *Hufflepuff Kitten*
    2018-11-05 05:40

    Side read with the non-crunchy classics crew!Interesting to see that this was only published around 10 years after Dracula. Loooooove the Gothic vibe that runs between both novels, and again, as with Dracula, I think the wording of the time period is what dulls the story here. I've mentioned in previous posts how my original read of this book (in high school) was really due to an infatuation with the musical adaptation, and thus I was rather disappointed that it wasn't more of a love story, as the show was. No, this is pure detective story, and this time I really enjoyed it. I wasn't big on the way Leroux/the narrator often broke the fourth wall to talk directly to the reader -- took me away from the story and off on his own tangents too much of the time. I did like the epilogue, though; gave it a real Sleepy Hollow vibe (which is likely going to be on the docket for October this year). Erik is the original fuckboy -- one of those guys who wholeheartedly believes that the friendzone is a thing and will do literally ANYTHING to get the girl he loves to fall madly in love with him. And when she turns out to be terrified of him (shock and awe), he threatens mass murder. I don't know about you, but that sounds like A LOT of cases I've heard in the news recently. Girls getting shot or stabbed because they rejected a guy's advances at the bar or refused prom dates, and so forth. It's absolutely mind-boggling. As opposed to what happens in today's world, Erik manages to redeem himself, which is what makes him such a compelling character. I will say if you like this book (or the show because, God knows, EVERYONE knows the show) or want to investigate Erik's backstory further, check out Phantom by Susan Kay. Sort of like what Gregory Maguire did for the Wicked Witch of the West.

  • peiman-mir5 rezakhani
    2018-11-15 00:03

    ‎دوستانِ گرانقدر، این داستان در مورد مردی زشت و بدقیافه به نامِ <اریک> است که بخاطر صورت زشتی که دارد از تمامیِ مردم کناره گیری کرده و با کسی سخن نمیگوید و سالها در تاریکی زندگی کرده است، چراکه قیافهٔ هیولا گونهٔ او در جامعه ای که زندگی میکند همپایه با گناه است. با آنکه <اریک> هیچ تقصیری ندارد‎او در سردابهٔ تاریک زیر سالن اُپرایِ پاریس زندگی میکند ... طبق گفته هایِ خودِ نویسنده <گاستون لرو> احتمالاً داستان در دههٔ 1880 اتفاق افتاده است... این مرد بیچاره یک شب از سوراخی که همیشه به صحنهٔ اُپرا نگاه میکند، دختر خواننده و زیبایی به نامِ <کریستین> را میبیند که عاشقش میشود.... <اریک> که سالها در سالن اُپرا زندگی کرده، به نوعی استاد خود آموخته شده است و تصمیم میگیرد تا <کریستین> را آموزش دهد... خلاصه آنکه آموزش های او سبب میشود تا این دخترک تمام پاریس را مجذوب صدایش کند‎شبح، یعنی <اریک> تصور میکند که دخترک به عشق او جواب مثبت میدهد، امّا دختر عاشق نجیب زاده ای به نامِ <رائول> است که از او خواستگاری کرده است‎شبح زمانی که متوجه میشود که <کریستین> او را نمیخواهد، دختر را از میان صحنه میرباید و او را به مخفیگاهش میبرد و <رائول> به دنبالِ عشقش تا طبقهٔ هفتم و پایین ترین طبقهٔ سالن در تاریکی به دنبال <کریستین> میرود‎بهتر است شما عزیزان، خودتان داستان را بخوانید و از سرانجامِ آن آگاه شوید‎چیزی که عجیب است، این است که نویسنده میگوید این رویدادها واقعیت داشته است... ولی بنظرم باور سخنان نویسنده دشوار است.. به دلایل بسیار نمیتوانم قبول کنم‎در داستان از مردی نام برده میشود به نامِ <ایرانی> که میگوید شبح را میشناسد و شبح سالها در خدمتِ ملکهٔ دیوانهٔ ایران بوده و ترتیب شکنجه ها را میداده است و بعدها به فرانسه آمده است.. که این موضوع بنظر پوچ و بی اساس است‎موضوع دیگر این است که در زمان دزدیدنِ دختر از میان صحنه، نویسنده میگوید: برای یک ثانیه چراغ ها خاموش شده و سالن تاریک میشود و دختر را می دزدد و سپس سالن روشن میشود و همه میفهمند که دخترک نیست... چیزی که عجیب است این است که در آن زمان برق نبوده است، پس چگونه حداقل 900 چراغ همزمان خاموش شده و پس از یک ثانیه روشن شده است!!! گویا نویسنده به این موضوع توجه نداشته است که چراغ ها احتمالاً گازسوز بوده است‎از این نوع ایرادها زیاد است، مثلاً میگوید چلچراغ وسط سالن، 200تن وزن داشته است و شبح آن را بر سر مردم انداخته و یک زن بیچاره کشته شده است!! چلچراغ 200 تنی مگر میشود به سقف آویزان باشد و نیوفتد؟؟؟؟! امکان ندارد‎و اینکه اگر شبح با کسی سخن نگفته و در پاریس مردم او را ندیده و نمیشناخته اند، نویسنده از کجا میدانسته که نامِ او <اریک> است و موضوع دیگر اینکه مشخص نیست آن <ایرانی> چرا تا این حد با شبح مشکل داشته و او را بد جلوه میدهد و به همه میگوید که شبح یک قاتل روانی و بی رحم است‎پس عزیزانم، بهتر است تا این کتاب را نه به عنوان یک واقعهٔ حقیقی و تاریخی، بلکه به عنوان داستان و افسانه بخوانیم... داستانِ غم انگیزی در مورد عشقِ ناخواسته میانِ مردی زشت و بد صورت که از جامعه طرد شده است و دختری زیبا و خواننده ای جوان که دوست دارد تا عشقش را نثارِ خواستگار پولدار و اشرافی و البته خوش قیافه بکند---------------------------------------------‎امیدوارم این توضیحات مفید و کافی بوده باشه‎<پیروز باشید و ایرانی>

  • Anna
    2018-11-15 01:50

    “In sleep he sang to meIn dreams he cameThat voice which calls to me and speaks my nameAnd do I dream again for now I findThe Phantom of the Opera is thereInside my mindSing once again with meOur strange duetMy power over you grows stronger yetAnd though you turn from me to glance behindThe Phantom of the Opera is thereInside your mind.”Στίχοι που προσωπικά κάθε φορά που τους ακούω με ανατριχιάζουν. Τι κρύβεται όμως πίσω από ένα μιούζικαλ που παίζεται διαρκώς εδώ και 25 χρόνια, έχει αναδείξει δεκάδες ηθοποιούς, έχει μεταφερθεί στον κινηματογράφο, ενώ το παραπάνω κομμάτι το έχουμε ακούσει σε metal διασκευή από τους Nightwish (που τους ακούω φανατικά https://www.youtube.com/watch?v=8VgLK...) και σε μια πιο «τρελιάρικη» εκδοχή από τη Lindsey Stirling (https://www.youtube.com/watch?v=TCL94...)Κρύβεται ένα μεγαλειώδες βιβλίο.Γραμμένο το 1910, αποτελεί ορισμό του dark romance, του καταραμένου έρωτα, του gothic, του θρίλερ, του τρόμου. Η λυρική γλώσσα και οι πολυδιάστατοι χαρακτήρες, μαγεύουν τον αναγνώστη, ο οποίος ακολουθεί τους ήρωες σε ένα ταξίδι δίχως γυρισμό στις κατακόμβες της Όπερας του Παρισιού, ανάμεσα σε λαβύρινθους, σκοτεινές παγίδες, αίθουσες βασανιστηρίων, πολυτελή θεωρεία, σκονισμένες σοφίτες, και όλα αυτά με πολλή μουσική. Διάβολε, την καλύτερη μουσική, από τους καλύτερους τραγουδιστές στο καλύτερο μέρος. «Turn your face away from the garish light of dayTurn your face away from cold, unfeeling lightAnd listen to the music of the nightClose you eyes and surrender to your darkest dreamsLeave all thoughts of the world you knew beforeClose your eyes, let your spirit start to soarAnd you'll live as you've never lived before…………………………………………..Open up your mind, let your fantasies unwindIn this darkness which you know you cannot fightThe darkness of the music of the night»Πολυτέλεια, πλούτος, ταλέντο, μεγαλοφυΐα σε απόλυτο συνδυασμό με το σκοτάδι, την τρέλα, την παράνοια, με background την Όπερα του Παρισιού.Τι είναι τελικά το φάντασμα; Μεγαλοφυΐα, μέντορας, απόβλητος, άσχημος, μεγαλόκαρδος, παρανοϊκός ή απλά ερωτευμένος με τη ζωή που επιθυμούσε να ζήσει;“Angel of music, guide and guardian, grant me to your glory”Και όταν πέφτουν οι μάσκες και αποκαλύπτεται η αλήθεια, πόσο εύκολο είναι να τιναχτούν όλα στον αέρα; Τι είναι ικανό να σταματήσει τη μανία;«Past the point of no return, no backward glancesThe games of make believe are at an endPast all thought of if or when, no use resistingAbandon thought and let the dream descend»Τίνος είναι τελικά η αυτοθυσία; Μαγευτείτε άφοβα«And in this labyrinthwhere night is blindthe Phantom of the Opera is there/here,inside my/your mindSing, my Angel of music! Sing»ΥΓ. Συγνώμη που χρησιμοποιώ στίχους του μιούζικαλ, αλλά αν άφηνα τον εαυτό μου να γράψει τι σκεφτόταν, νομίζω ότι θα πέρναγαν από το μυαλό μου εικόνες του βιβλίου και στο πληκτρολόγιο απλά θα έγραφα wow!Επειδή οι περισσότεροι θα έχετε δει την κινηματογραφική εκδοχή (αν δεν την είδατε να τη δείτε), προτείνω επίσης το θεατρικό του Λονδίνου (http://www.imdb.com/title/tt2077886/?...), εκτός αν το έχετε δει ζωντανά και θέλετε να μοιραστείτε τις εντυπώσεις σας! Θυμηθείτε όμως πως σαν το βιβλίο δεν έχει!!!

  • Angelica Destler
    2018-10-23 00:51

    This is my absolute favorite book ever! The story, the characters, I love it all! No worries, I won’t fangirl… much. Okay, the review!I think that the plot is very interesting, with Erik living under the opera house and all. It’s unrealistic, yeah, but I usually go for fantasy stories, so it didn’t bother me. One thing I did find realistic was Erik’s love for Christine. It wasn’t love at first sight, like in a lot of books. Christine came to the opera house, Erik watched her for a while, and then fell in love with her. And he didn’t love her for her voice, as some say. It says in the book she wasn’t a great singer before Erik taught her. I ship it so hard… *cries* Since my OTP is Erik and Christine, I don’t like Raoul. I do respect how much he went through for the girl he loved, though. I find I can’t hate Christine, even after she was so cruel to Erik. She was very nice to everyone else but when she was telling Raoul about her visit with Erik, she said something along the lines of “I overwhelmed him with abuse”. I’m not kidding. Well, I guess I can hate her after remembering that sentence. And she’s a bit too much like a “damsel in distress” for my taste.Erik. I am so very fond of Erik. I know he’s not perfect, but I adore him. He’s deformed, I know, but I think he’s cute. And I see why he thought he had to do those violent things. Obviously he shouldn’t and didn’t have to do those things, but Erik thought that was what one does when one is in love. Poor guy was never loved, even by his own parents. So my theory is that he didn’t know how to love properly. I’m not sure it’s canon, but I feel like it is.If you have seen Andrew Lloyd Webber’s The Phantom of the Opera (which is amazing) and haven’t read the book, you won’t know who the Daroga is. Lots of people don’t know him, for he seems to always get cut out of things. And he’s an important character! He knew Erik when he worked for the Shah of Persia and helped him. He also helped Raoul search for Christine when Erik kidnapped her. I don’t particularly like the Persian (another thing he is called. His true name is never mentioned, although in Susan Kay’s Phantom he is called Nadir) or hate him. I don’t like him because he called Erik a monster multiple times, and I don’t hate him because there is mention of him saving Erik’s life while he was in Persia. One could say I have mixed feelings.

  • Erin ☕ *Proud Book Hoarder*
    2018-11-14 01:49

    3.5 stars“Erik is not truly dead. He lives on within the souls of those who choose to listen to the music of the night.” I'm not a fan of musicals... at all. I've never seen a play besides a childhood production of the Velveteen Rabbit, which hardly counts. Despite this, I've always wanted to see a live production of 'Phantom of the opera.' What is it about the story and atmosphere that draws so many in? I've seen movies - the musical drama (not my thing), the Robert Englund horror version (sorry to say, poorly done and excessively gory), and the even worse horror version by Dario Argento with Julian Sands having an overly personal relationship with rats. Finally, the book...It's hard to tell how accurate the translation is, but I enjoyed this writing style and the wording. I can never tell when risking these classics, and while it did have a dab of that Victorian age melodrama and overly done wording, especially with painful and romantic dialogue, it was gifted with humor while it made fun of itself and the Victorian age writing style. That's the brightest shine it held- the author was genuinely funny as he tormented the unfortunate, skeptic theater managers and poked morbid circumstances onto the crew. When he turned serious with characters and romance, it falls short. Really Raoul is just awful, bad enough to where I can see why Christine may be tempted to go with a doomed, insane stalker instead. He's childish, fond of tantrums, over the top with affection, obsessive....I can see him as a Romeo type whose life would be over if his crush went the opposite direction. It was tiring. Christina isn't much better as she seems wishy-washy when she's probably supposed to appear mysterious.As for the Phantom, I feel all adaptations I've seen missed a unique spark that can't translate over. He's not ideal and perfect since he's clearly bonkers, inconsistent with plans and affections, melodramatic with some of his dialogue, but I'd rather be on the same page with him over the depressing Raoul.There's not much tension or terror besides the underground track and that bizarre torture room/device - seriously, what a way to go? Have to give props for originality.Ultimately I didn't get the ending and the death thing and where it's coming from - I would have assumed he was a phantom, not alive fully in the first place, and it's hard for me to pinpoint his exact ailments. If you can shrug aside overdone Victorian tones and appreciate it's daring humor, it's a classic worth reading. Romantic though? Not in the least.

  • Denisse
    2018-10-31 02:56

    3.5 So difficult to rate. It caught my interest at first, bored me in the middle and re-conquered me with that beautiful, sad and nightmarish ending. The author begins and ends the novel as if it were a legend, something that maybe happened or not and gives a more realistic touch to the plot. Unfortunately his characters are not as good as his magnificent writing which saves the book. Es una pena, porque le tenía muchas expectativas a la novela. Pero esas casi 100 páginas a mitad del libro bajan tanto el ritmo casi perfecto de misterio y miedo que va desarrollando el autor que no pude evitar dejarlo de lado por días enteros. Y es que si las quitas o simplificas dejaríamos un arco de terror clásico perfecto, donde todo empieza muy misterioso y termina con unas imágenes muy tétricas y excelentemente bien detalladas. ¿Así que alguien puede explicarme todo el rollo sentimental de Christine y Raoul? Lógico es necesario para el final, pero se ve tan desfasado de todo lo demás que te saca de la experiencia por completo. Ese sentimiento de venganza que culmina en redención para Erik salva el libro para mi, leí sus últimos capítulos sin descanso y ese final que termina en legenda pega justo en mi parte lectora más curiosa. Quitando los personajes centrales que no están ni de chiste bien formados, la novela tiene una narración fantástica que muchas veces se siente mágica de forma oscura, empieza muy interesante y termina de forma intensa y agridulce. Deja buen sabor de boca pero no lo suficiente para perdonarle sus partes más bajas.

  • Jonathan Terrington
    2018-10-30 23:38

    While I was in New York City, living it up on 7th and 27th, I decided that I would go see a musical, with friends, on Broadway. However, being the 'buy-first-think-later' student that I am, most of the musicals were out of my price range. The suitcase load of cheaper comics and novels had something to do with this. However, I did have enough cash to go with two of the ladies on the trip and get tickets to The Phantom of the Opera with Peter Jöback staring as the eponymous character. We all dressed up as you do, for a touch of fun, though I gladly admit the girls looked far more elegant and lovely than myself. And it was a night of friendship and bonding, which we loved for the story, drama, visuals and music.The book, as is want for novels and their adaptations, differs from the musical to a reasonable degree. Yet the basic premise of the story remains the same. There is the gothic doomed love triangle, as with other works like Romeo and Juliet, in which the handsome, young Viscount Raoul vies for the love of Christine Daae with the dreadful Opera Ghost (if you prefer: The Angel of Music or The Phantom of the Opera).The writing is elegant, yet hints at and remains grounded in sensibilities from the more romantic eras. This helps create a tone similar to and different from such works as Dracula or The Tell-Tale Heart and Other Writings. Some certainly might find the manner of storytelling and writing, therefore, dry, old-fashioned or otherwise simplistic. Yet, for myself the novel worked on the whole to further the gothic sense given by the play and highlighted several key points at which the play did not reveal the truth of what was happening as well.So, which is superior? I would have to admit that the play has a great visual acuity which better helps define the gothic ambience of the story and reveal the forbidden romance elements and therefore stands superior for the most part. Yet both stories serve to question how it is that we as individuals can put on masks to hide our identities from those we love and from humanity in general. As such the true horror of this story is not that of the Phantom, but of how humanity so responds to the wretched outcasts, turning away those who deserve pity and aid.

  • Tatiana Khaykina
    2018-10-20 07:04

    I saw the musical "The phantom of the Opera" in Moscow less than a month ago. I enjoyed it, although, there were a few moments when I was scared. The musical left a lot of unanswered questions and I got interested and decided to read this novel by Gaston Leroux. The original language of the novel is French. I don't know French, that's why I decided to read it in Russian. It took me less than 2 days to finish the novel. I almost forgot how it feels to read in my native language and how melodious it sounds in my head. Although, I knew how the book would end I felt high tension till the last page of the novel. I felt the atmosphere of darkness, horror and great suffering. The greatest suffering in the whole world. This is the gothic novel and my first experience of reading such kind of literature. I heard the famous melody inside my head while reading and just couldn't get it out. "In sleep he sang to me,In dreams he came...That voice which calls to meAnd speaks my name..."Although, the author described great love that Erik suffered from, I didn't feel it at all, it only frightened me terribly, although, at first I was charmed by romantic visits of Angel of Music but some time later he went too far. I think that such wonderful feeling as love can never exonerate those terrible things that Erik did in order to make Christine Daae fall in love with him. One minute he was cruel with her and the other minute he fell to her legs and began crying asking her to forgive him. I really felt sorry for the poor phantom of the Opera because nobody deserves such a gruesome destiny only because of the appearance, but what was even more dreadful was the fact that Erik allowed the world to bury his humanity and become a monster that scared everyone. Somebody can say that it was the only way he could save his life but I can't believe that anybody could be happy if the reason his sweetheart agreed to be with him was common fear. Speaking about Raoul, I didn't like that he cried every time Christine refused to be with him. And he did it just in front of her. But maybe this was typical of men of that time and such kind of literature in order to describe sufferings better. Gloomy descriptions played a huge role in the novel, I felt that I was lost in a thick fog, especially when Christine went through the mirror and fell asleep a little bit later in the phantom's habitation.Christine Daae was just what I imagined a young opera singer would be. She was talented, eager to study singing, unobtrusive and emotional. She had the ability to emphasize and feel sorry for people who were in trouble. Christine was graceful and very strong at the same time. I can say that she was brave, courageous and had a good will-power. The torture chamber was the apogee of my fear, the feelings of Raoul and Persian made me feel like I was the prisoner, the hostage of the Angel of Music. The way Gaston Leroux plays on readers' nerves is just impressive. It seemed to me that nothing more horrible could be imagined by the phantom than it already had been and one page later I found out that there were powder kegs which could destroy one quarter of the city! Paris is a magical city for me and now I want to see great Opera Garnier with new eyes. The end of the novel shocked me because I thought that nothing but Erik's death could change the destiny of the main characters. But he changed his mind when he saw that Christine was eager to sacrifice her life for the sake of her true love and Erik's feelings which were buried long ago suddenly awoke. The kind genius understood that pure love is that kind of love when you wish happiness to your beloved. He saw the sacrifice Christina made and decided to do exactly the same thing for her, although, he knew that he would die without her very soon.All in all, I believe that it is the great work of art, although, it seemed too dark for me sometimes and it was mind-blowing for me because I'm really emotional and take everything too close to my heart. Maybe gothic novels are just not my paradigms and I'm more into something less cruel and morose but, to be honest, I enjoyed it and there wasn't a page where I lost interest or felt that the narration was dull. Almost two days have passed since I finished the book but I still keep thinking about main characters and Erik's destiny."And do I dream again?For now I findThe phantom of the operaIs there - inside my mind!.."

  • Amanda
    2018-11-09 03:37

    This book was surprisingly good... a surprise because most books written around this time (I believe this was written in 1909) seem to be very boring and/or difficult to read. I have seen the play (and loved it) and was always curious about the original novel, which, I'll say right now, is definitely worth reading. Very captivating and suspenseful and emotion-invoking. My only real complaint is on the character of Raoul who is often described as what I would call a "weenie" - crying alot and full of soap opera-like emotions that make you feel embarrassed. The Phantom is way cooler. But also, most of the story is told from Raoul's point of view on things, which is also sort of a let-down. (It is not, however, written in the first person.) For anyone who doesn't already know the story I will expound on it: so the story is a French 'legend' (if you will) of the 'Opera Ghost' who roamed under the Paris Opera House in the late 1800's. This ghost falls in love with one of the girls in the opera whose name is Christine and whose boyfriend is Raoul. So it's kind of a love triangle but it works out ok - trust me. The ghost is a very intriguing character because he is a genius and he is extremely ugly so he wears a mask everywhere and is very mysterious. I don't want to give too much away for people who want to be surprised but I will say that the original story was surprising in alot of good ways. I enjoyed it alot. There were a few slightly long-ish sections but the epilogue was worth reading because it delves into the phantom's history which was very interesting. The end of the story made me quite teary-eyed. It really is a great story.

  • Apatt
    2018-11-04 00:49

    “No more talk of darkness. Forget these wide-eyed fears. I'm here, nothing can harm you. My words will warm you and calm you...” OK OK, I won't go there, no Andrew Lloyd Wibbly in this review. The Phantom of the Opera seems to have joined the rank of books that few people bother to read because too many people assume they already know the entire story. There is a lot more to the novel than a crazy guy with half a mask abducting a girl just to give her some free singing lessons. I mean who does that?Interestingly in this English translation of Gaston Leroux’s novel by Alexander Teixeiros de Mattos the character commonly known in popular media as The Phantom is never called that in the book. He is more commonly referred to as the Opera Ghost, the Angel of Music and Erik. He even signs his letters O.G. The word phantom seldom appears in the book, and never as a reference to Erik. I cannot speak for the original French version of course. Unfortunately, this precludes anybody referring to him as The Phantom Menace* when he is being particularly destructive.As you would expect the most interesting character in the book is the Opera Ghost himself. I suspect Erik may be the prototype for the fictional psychopathic geniuses like Hannibal Lector. His wide range of abilities makes him almost superhuman: brilliant singer, genius architect, magician, ventriloquist, weapon expert etc.“You must not think, Raoul, that he is simply a man who amuses himself by living underground. He does things that no other man could do; he knows things which nobody in the world knows.”The most enjoyable aspect of the book for me is Erik popping up unseen all over the place in the Paris Opera, thanks to his stealth and the numerous secret passages that he created. He often seems like an omnipotent supernatural creature. His subterranean lair is an eerie creation and very atmospheric. The intensity of his madness is also awesome.The other characters are somewhat less successfully developed. Christine Daaé is too good to be believable, her lover Vicomte Raoul de Chagny comes across like an impassioned idiot most of the time. In spite of his zombie-face and pizza-like complexion, Erik seems a much better prospect than whiny Raoul. The only interesting secondary character is a mysterious man called The Persian who knows more about Erik than anybody else.Erik’s only foible is his love for Christine Daaé which causes a lot of grief for all parties concerned. Erik’s ugliness is off the scale, with a face not even a mother could love, so of course what he wants most in the would is to be loved. The Phantom of the Opera is – as you would expect – a story of an unrequited and obsessive love. It is also a story of extreme loneliness and madness. I had a really good time reading/listening to the book (hopping back and forth between audiobook** and e-book as appropriate). If you are looking for a book to read during Halloween and don’t want to spend any money The Phantom of the Opera is just the thing._________________________* Can't put in Whovian reference, may as well do Star Wars.**Free audiobook from Librivox (of course) nicely read by Ralph Snelson. Thank you!

  • Gemma
    2018-10-24 02:39

    "Masterpiece" doesn't cut it. It's a work of art. To be honest, I didn't even know this was a book until I found it in the library, but now it's one of my favorites (let's put it this way -- I read it in one day). I love Gothic novels, but this one tops everything I've ever read. I'll admit it's not for everyone, but I have no idea what people mean when they say it's hard to read. The characterizations are so vivid, it was like being sucked into the pages. From the follies of the opera managers, to the frustration of Raoul, to the courage of Christine, there's such life in this story that you can't help but marvel at the stark contrast of Erik's world. It is one of the very few books that actually made me cry, though the ending of the book was more merciful (to me) than the play. Long story short, if you haven't read it, do it now!

  • Fred Shaw
    2018-11-05 00:50

    The Phantom of the OperaBy Gaston LerouxUnabridged Audio book Published by Blackstone AudioNarrator Ralph CoshamWhat a wonderful story. Those who have read it, will know what I mean. To this day, The Phantom of the Opera plays in opera houses and theaters worldwide. A true following exists and there is a website and twitter account. (Hope Trump never finds it. He might shut it down). I’m not going to bother you with a recap. I will say, if you have seen the play but not read the book, please treat yourself and do so. In reverse, book first then see the play. Regardless do both. In that Phantom is categorized as a horror story, or maybe a tragedy, or love story or all of the above, I did find some humor when the OG (Opera Ghost) was at his game. He had many who believed he was a ghost and did his bidding. Then there were those who did not believe him to be a ghost, whom OG treated with wizardry, ventriloquism, theft and even murder.Read Phantom and enjoy.

  • Eric Boot
    2018-10-28 05:04

    This book is about a ghost. His name is Erik.He lives in Paris.In an opera house.DUH. OBVIOUSLY I LOVED THIS BOOK4.5