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The Complete Phantom of the Opera
This is the lavishly illustrated, definitive account of The Phantom of the Opera, tracing the Phantom legend from its origins in historical fact through Gaston Leroux's heartrending classic novel and other artistic incarnations to the present day and Andrew Lloyd Webber's incredibly successful musical.
167 pages, Paperback
First published January 1, 1987
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Displaying 1 - 30 of 76 reviews
May 29, 2013
Our villain who was abused and used as a freak show attraction in a gypsy circus, finds it easy to inflict pain on others. I had never read the book (before now), I had only seen the movies so I never really thought about Erik as a hideous beast. I thought of him more as a poor soul who was disfigured and deformed, a man with a poor lot in life. After reading the story, I found that he was much more intelligent and skilled, and his story was much more sorrowful. I want him to have a happy ending, but he is so broke. It is much too easy for him to choose the easiest/darkest choices (torture or killing) to obtain his goals.
I think that anyone who has seen the play or watch the movies might have a hard time connecting to this version (the original) of Erik. I know I did. I want to like him and have him win in the end of the movies/plays. Not here. Here I feel he still deserves love, but he needs someone who doesn't care if they might get a little abused or come home and find a dead body. You know the average girl. Yeah right.
I think that anyone who has seen the play or watch the movies might have a hard time connecting to this version (the original) of Erik. I know I did. I want to like him and have him win in the end of the movies/plays. Not here. Here I feel he still deserves love, but he needs someone who doesn't care if they might get a little abused or come home and find a dead body. You know the average girl. Yeah right.
December 12, 2022
The beginning of the book is a biography of Gaston Leroux and the history of the opera house. Next are details of all the plays and movies made of the novel. The second half of the book focuses on the Lloyd Webber production, including lots of full-page photos. The author comes across as a big fan of the story and musical. At the end is the full libretto, which appears identical to that found in the CD’s liner notes. I was hoping for more detail on the show’s special effects, but those are kept secret.
After loving The Complete Book of Les Misérables, I had been wanting to get this book for years but never did. I took it from my grandmother’s house at her funeral; she loved musicals and was a professional dancer. I think my mom gave her the book in the first place.
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After loving The Complete Book of Les Misérables, I had been wanting to get this book for years but never did. I took it from my grandmother’s house at her funeral; she loved musicals and was a professional dancer. I think my mom gave her the book in the first place.
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March 21, 2011
Phantom was always memorable for me as it began my re-discovery of musical theatre.
All I knew then of musicals were the old Rodgers and Hammerstein movie versions that we all used to watch when we were growing up. But when I saw the video of All I Ask of You with the divine Sarah Brightman and Cliff Richard back in 1986 and learned that it was from a stage musical, my curiosity got piqued.
I have never seen any footage from that musical after seeing the video but the melody stuck with me then. And when my cousin from Canada gave her friend a copy of the cast recording on tape and a photocopy of the libretto, I was ushered into a new world.
I didn't know that cast recordings embodied so much heart and passion of a show even if you haven't seen it live. Since then I have always imagined how the scenes would be on stage, collecting articles and scouring for anything on the show and on Lloyd Webber that I can get my hands on; from a betamax copy of the BBC Documentary, to cast recordings of his past shows like Evita, Joseph and the Amazing Technicolor Dreamcoat, Cats (which I still feel should be seen than listened to), and others.
This Phantasmagorical experience led me to appreciate his future shows (Aspects of Love, Sunset Boulevard), to other composers like Schonberg and Boublil of Les Miserables and Miss Saigon and later to an American composer who would influence me greatly and who goes by the name of Stephen Sondheim. :)
All I knew then of musicals were the old Rodgers and Hammerstein movie versions that we all used to watch when we were growing up. But when I saw the video of All I Ask of You with the divine Sarah Brightman and Cliff Richard back in 1986 and learned that it was from a stage musical, my curiosity got piqued.
I have never seen any footage from that musical after seeing the video but the melody stuck with me then. And when my cousin from Canada gave her friend a copy of the cast recording on tape and a photocopy of the libretto, I was ushered into a new world.
I didn't know that cast recordings embodied so much heart and passion of a show even if you haven't seen it live. Since then I have always imagined how the scenes would be on stage, collecting articles and scouring for anything on the show and on Lloyd Webber that I can get my hands on; from a betamax copy of the BBC Documentary, to cast recordings of his past shows like Evita, Joseph and the Amazing Technicolor Dreamcoat, Cats (which I still feel should be seen than listened to), and others.
This Phantasmagorical experience led me to appreciate his future shows (Aspects of Love, Sunset Boulevard), to other composers like Schonberg and Boublil of Les Miserables and Miss Saigon and later to an American composer who would influence me greatly and who goes by the name of Stephen Sondheim. :)
March 15, 2010
A very nice, compact look at the origins of the novel and its subsequent forays into film and musicals, with focus on the Andrew Lloyd Weber version. This edition came out in 1988, just after Weber's "Phantom" hit theaters, so there isn't anything about any other versions after that or much about the continuing impact of that show or its success, which would have been nice. But, a nice easy read with lots of photos; the photos of the ALW cast, costumes, set, decorations, and so forth (especially the Phantom make-up!) are very nice.
January 9, 2023
3.5/5
If you completely excised the multimedia composite that is 'The Phantom of the Opera' from every corner of my life, I would be less of a person. My taste in music, my values in relationships, my priorities in living my life: it's no overstatement that they would be far simpler and less sustaining if my four-year-old self hadn't resonated with a mysterious sequence of vocals and organ music, later revealed to my older self to be the original cast recording of the Webber production. True, I've never seen it on Broadway or shelled out obscene amounts on some sort of coffee table monstrosity, but I don't base my devotion to various pieces of media based on how many instances of conspicuous consumption I've flaunted thus far. In any case, 2023 is proving to be the Year of Reading Close to Home, and what better way to start it off than with not only a book entirely about one of my long lasting loves, but also one of the highest rated pieces that I've been dragging around since 2011? As for the actual reading experience, I learned a great deal about many different factors (the original Leroux novel, the silent Hollywood experiments, the context of the Webber adaptation) that I had heretofore knew only in piecemeal, and it was impossible to read the concluding libretto at a pace faster than the original cast recordings echoing in my memory. The material being what it is, I wasn't going to get the deep dive literary piece of the revolutionary nonfiction treatise that usually garners a favorite from me, but in terms of starting the year on a high (and the opposite of exhausting) note, this would be hard to beat.
What exactly is 'The Phantom of the Opera'? A musical for those who don't like musicals? An opera for those who don't like operas? A love story for those who decry the genre, a piece of literature for those who fall asleep at the mere mention of names such as Dickens or Twain? A 20th century phantasmagoria for those who think everything good in the world died in 1899, a 19th century extravaganza for those who would gladly see everything 'Victorian' and otherwise tied to colonialism's purse strings blown off the face of the earth? I'm hardly the only one who has cleaved to this mastodon of monstrous sentiment and bombastic unoriginality from childhood to adult, and each time I come back, I find it engagingly changed and yet achingly familiar. Indeed, I'd put forth the argument that the strongest facet of PotO, the one that draws in newcomers and keeps the grizzled enthusiasts coming back for more, is the yearning: for love, for self-actualization, for acceptance, all wrapped up in dazzling visuals, devastating vocals, and deadly thrills. As this work is but a supplement to the experiences of reading the original work, listening to the original cast recording, or seeing a live performance, it's never going to measure up to the expectations that the title evokes in those committed to the media. Still, the next time I dive into the material proper, I'll have a much fuller background to draw upon, and thus I expect to appreciate more of what I find in the process. And that's well worth having taken the time to read this, no?
Despite my (mild) criticism of this work, I can't really say what it could have done better without ruining the spread page promises of its front cover and the enticing brevity of its length. I could have used less blown up renditions of photos taken during the 80s and more commentary, as well as political commentary that was less far up its own ass, especially in the case of the Paris Commune of 1871. There's also the fact that, since this work's publication in 1988, there's been a bevy of other PotO adaptations to put into a larger context, and I even have one that covers the (travesty of a) 2004 film adaptation (although hopefully not the even more atrocious 'sequel') sitting on the shelf behind me. However, for what this is, it's a nice piece of work for the long time Phantom lover who need not worry about spoilers or not being familiar with the more need to know details. What with the news of Poto supposedly finally coming off of Broadway this year, perhaps this is the kick in the pants that'll finally get me to put my money where my mouth is and see the show before it moves on to less hallowed pastures.
If you completely excised the multimedia composite that is 'The Phantom of the Opera' from every corner of my life, I would be less of a person. My taste in music, my values in relationships, my priorities in living my life: it's no overstatement that they would be far simpler and less sustaining if my four-year-old self hadn't resonated with a mysterious sequence of vocals and organ music, later revealed to my older self to be the original cast recording of the Webber production. True, I've never seen it on Broadway or shelled out obscene amounts on some sort of coffee table monstrosity, but I don't base my devotion to various pieces of media based on how many instances of conspicuous consumption I've flaunted thus far. In any case, 2023 is proving to be the Year of Reading Close to Home, and what better way to start it off than with not only a book entirely about one of my long lasting loves, but also one of the highest rated pieces that I've been dragging around since 2011? As for the actual reading experience, I learned a great deal about many different factors (the original Leroux novel, the silent Hollywood experiments, the context of the Webber adaptation) that I had heretofore knew only in piecemeal, and it was impossible to read the concluding libretto at a pace faster than the original cast recordings echoing in my memory. The material being what it is, I wasn't going to get the deep dive literary piece of the revolutionary nonfiction treatise that usually garners a favorite from me, but in terms of starting the year on a high (and the opposite of exhausting) note, this would be hard to beat.
What exactly is 'The Phantom of the Opera'? A musical for those who don't like musicals? An opera for those who don't like operas? A love story for those who decry the genre, a piece of literature for those who fall asleep at the mere mention of names such as Dickens or Twain? A 20th century phantasmagoria for those who think everything good in the world died in 1899, a 19th century extravaganza for those who would gladly see everything 'Victorian' and otherwise tied to colonialism's purse strings blown off the face of the earth? I'm hardly the only one who has cleaved to this mastodon of monstrous sentiment and bombastic unoriginality from childhood to adult, and each time I come back, I find it engagingly changed and yet achingly familiar. Indeed, I'd put forth the argument that the strongest facet of PotO, the one that draws in newcomers and keeps the grizzled enthusiasts coming back for more, is the yearning: for love, for self-actualization, for acceptance, all wrapped up in dazzling visuals, devastating vocals, and deadly thrills. As this work is but a supplement to the experiences of reading the original work, listening to the original cast recording, or seeing a live performance, it's never going to measure up to the expectations that the title evokes in those committed to the media. Still, the next time I dive into the material proper, I'll have a much fuller background to draw upon, and thus I expect to appreciate more of what I find in the process. And that's well worth having taken the time to read this, no?
Despite my (mild) criticism of this work, I can't really say what it could have done better without ruining the spread page promises of its front cover and the enticing brevity of its length. I could have used less blown up renditions of photos taken during the 80s and more commentary, as well as political commentary that was less far up its own ass, especially in the case of the Paris Commune of 1871. There's also the fact that, since this work's publication in 1988, there's been a bevy of other PotO adaptations to put into a larger context, and I even have one that covers the (travesty of a) 2004 film adaptation (although hopefully not the even more atrocious 'sequel') sitting on the shelf behind me. However, for what this is, it's a nice piece of work for the long time Phantom lover who need not worry about spoilers or not being familiar with the more need to know details. What with the news of Poto supposedly finally coming off of Broadway this year, perhaps this is the kick in the pants that'll finally get me to put my money where my mouth is and see the show before it moves on to less hallowed pastures.
December 10, 2022
The Phantom of the Opera has been a staple in my life since my grandparents showed me the 2004 film and Michael Crawford and Sarah Brightman performances when I was eight years old. My obsession and deep love for it it took off, and I then went on to read the novel a year later. This musical is extremely special to me but I have not done much research to it’s origins! This book gave me all I wanted and more. Having been to the Palais Garnier in Paris, I found it so fascinating to know more of the creation of that gorgeous opera house - I had no idea there was an actual lake under there for the hydraulic stage mechanics!! Amazing!! I loved learning about Leroux and how this story inspired many who encountered it. A simply gorgeous book for a beautifully tragic tale. 🥀🖤
February 8, 2017
This was really cool. There is so much about the Opera House, the many many different Phantom adaptations, Gaston, and of course the Weber version. Plus the pictures are amazing.
February 19, 2023
If you know me, you know!
January 25, 2014
More of a 4.5 rating. This book offers a glimpse into the past of the Phantom. Mainly delving into the origins of the Paris Opera House and the mad genius of its architect Charles Garnier, the interesting life of the Phantom's maker, Gaston Leroux, and how the compelling story went from book to silver screen and to the theatre where it reins to this day.
I loved learning all of the little details about the most singular Opera House. Indeed, it doesn't hold the biggest auditorium and has limited seating, but it is the largest in the world. What a grand setting! How could Leroux go there and not create such a fantastic story. They shouldn't have replaced the ceiling covers though, the 'new' one looks out of place here.
I find Gaston Leroux a fascinating man in his own write. Not so much his career as a writer, since most start out as journalists. But more so for the little tidbits about him. Like the fact that he was born in an undertaker's business complete with his own dramatic quote about his birth: "There, where I sought a cradle, I found a coffin."
Some of the pictures were lovely. It was wonderful to see the makeup transformation up close and the sketches of the clothes and costumes and wigs. I would totally kill to have one of Maria Bjornson's models of the set. I could probably make one but damn they're beautiful!
It was also nice to find out more about the people who helped create the show behind the scenes. I was really surprised that so many people came from the opera, but I guess that should have been obvious. "Phantom of the ...oh, what was it?"
I really liked that the libretto was included. The differences between the stage version and recent movie version might confuse some other people, but I enjoyed reading it and looking for the differences. It was much easier to read this one than to stare at the one provided with the original cast recording. It's always fun to be able to read the correct lyrics or just to see what all of the characters have to say during the really big numbers. In the 2004 movie, some parts get drowned out.
Overall, a very enjoyable book and worthy of a phan's collection.
I loved learning all of the little details about the most singular Opera House. Indeed, it doesn't hold the biggest auditorium and has limited seating, but it is the largest in the world. What a grand setting! How could Leroux go there and not create such a fantastic story. They shouldn't have replaced the ceiling covers though, the 'new' one looks out of place here.
I find Gaston Leroux a fascinating man in his own write. Not so much his career as a writer, since most start out as journalists. But more so for the little tidbits about him. Like the fact that he was born in an undertaker's business complete with his own dramatic quote about his birth: "There, where I sought a cradle, I found a coffin."
Some of the pictures were lovely. It was wonderful to see the makeup transformation up close and the sketches of the clothes and costumes and wigs. I would totally kill to have one of Maria Bjornson's models of the set. I could probably make one but damn they're beautiful!
It was also nice to find out more about the people who helped create the show behind the scenes. I was really surprised that so many people came from the opera, but I guess that should have been obvious. "Phantom of the ...oh, what was it?"
I really liked that the libretto was included. The differences between the stage version and recent movie version might confuse some other people, but I enjoyed reading it and looking for the differences. It was much easier to read this one than to stare at the one provided with the original cast recording. It's always fun to be able to read the correct lyrics or just to see what all of the characters have to say during the really big numbers. In the 2004 movie, some parts get drowned out.
Overall, a very enjoyable book and worthy of a phan's collection.
August 31, 2018
This is my 500th read book on goodreads and HOW perfect is that! I love Phantom of the Opera, so it was really fascinating to see photos from the original 1986 production with Michael Crawford and Sarah Brightman. I’ve never seen those images before! I enjoyed reading about the musical’s origins, the decisions Webber made to omit certain characters of the novel to centralize the main three (Christine, Phantom and Raoul), and the closeups on the costume designs and sketches.
It was a nice companion book to the musical illustrating many behind the scenes elements. Now maybe I’ll listen to the music...
It was a nice companion book to the musical illustrating many behind the scenes elements. Now maybe I’ll listen to the music...
December 19, 2012
I've been in love with Phantom of the Opera since I was three years old and this book is a must-have for people who love the Gaston Leroux book and the Andrew Lloyd Webber musical. Full of information and beautiful photographs, it's a gem!
December 29, 2019
In one word:
Perfect
Perfect
June 4, 2014
This book is one of my favorites. It's an epic, haunting classic that is a must read.
April 14, 2019
If you are a "Phantom" junkie like me, you'll adore this coffee-table book about all things Leroux, Lloyd Webber, and l'Opera. There were so many lavish photographs, so much backstory I didn't anticipate, so many wonderfully interesting facts about subterranean lakes and rookie lyricists and silent film maneuvers - there isn't a single page that is de trop, a single photograph that is irrelevant, a single paragraph that waxes on about minutiae. It is organized logically, rigidly structured, factually accurate, and manages to be both informative and entertaining at the same time. I love that the libretto & script are included at the end, and may just perform a readers theater with my students if the power goes out. Such a treat!
September 1, 2019
Covers the history of 'Phantom' from its literary publication to its cinematic adaptions to becoming one of the world's best~loved stage musicals. The more of those three you have interest in, the more you'll enjoy this book. It's incredibly detailed, and includes a great collection of art and photos. The ones of the stage show costumes are incredible.
August 5, 2018
Excellent collection of stories that comprise the whole story of the Phantom of the Opera. Loved the history and all learning all the little tidbits. An excellent compliment to watching the Opera in person.
June 13, 2020
Quintessential to understanding the development of the '86 musical with some interesting tidbits thrown in such as the influence of the documentary "The Skin Horse" on the characterization of the titular character. Also important from a literary perspective with the libretto published with it.
September 21, 2017
THE PHAAAAAAAAAAAAAAAAAANTOM OF THE OPERAAAAAAAAAAAA IS HEREEEEEEEEEEE
INSIDE YOUUUUUUUUUUUUUUUR MIIIIIIIIND
INSIDE YOUUUUUUUUUUUUUUUR MIIIIIIIIND
March 12, 2018
A good overview of depictions of the Phantom story on the page, the screen, and the stage; published in connection with the hit musical.
October 25, 2019
I have never read anything this powerful!
after I finished reading it...I couldn't read anything for almost two years; nothing measures up to the Phantom of the Opera...in every possible sense!
after I finished reading it...I couldn't read anything for almost two years; nothing measures up to the Phantom of the Opera...in every possible sense!
April 26, 2023
5.0 out of 5 stars
I love this musical so much
I love this musical so much
August 30, 2023
I'm in love
December 31, 2023
Mi-a plăcut foarte mult firul narativ al romanului, care mi-a oferit ocazia sa privesc și mai profund opereta mult cunoscuta și draga! 🤗
September 9, 2024
phantastic book for Broadway fans of Phantom of the Opera. If you like original cast, this is focused on them
February 6, 2025
it's over now the music of the night 😭🌹
March 9, 2025
Amazing what reading a book at different ages is like, still a great story but substantially different to me than when I read it at 14!
July 24, 2022
Niki loved this opera, so much so that she used it as her theme for her wedding
November 7, 2022
this book is very good
July 8, 2008
In Chinese,we name it<<歌剧魅影>>.But it completely subvert the impressions of Phantom we've gotten from western culture.He is charming,warm,creativity and genius,but he is a tragic human being,he can't be accepted by the others,living like a ghost,but he still can't break away from the oprea he loves in life,he deeply loved Christina.The world is unfair to him.In fact,if I'm the Christina I will love him,even he is poor,even we can't go out a while just for a walk.But the ending is so real and tragic,That's the world often going to be...
May 29, 2013
It was nice to read about this ubiquitous musical that I am kind of ambivalent towards. I liked reading about when it was fresh and new and had the joy of invention and collaboration with talented people who were making it for the first time. The historical backstory of the Paris Opera House and Gaston Leroux's novel were edifying, and the inclusion of the original libretto was especially generous. Definitely enjoyed looking at the pictures of the show before it became this giant bloated repetitive megathing in pop culture. Kind of makes me wish it wasn't as successful as it turned out to be.
Displaying 1 - 30 of 76 reviews