The Phantom of the Opera: Original Motion Picture Soundtrack (2004)

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Binding: Audio CD EAN: 5099709352225 Format: Special Edition Label: Sony/BMG Manufacturer: Sony/BMG Number Of Discs: 2 Publisher: Sony/BMG Release Date: 2004-12-06 Studio: Sony/BMG
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Editorial Reviews: For better or worse, Andrew Lloyd Webber's adaptation of Gaston Leroux's gothic horror/romance novel has done for stage musicals what Spielberg's Jaws did for fish stories, with worldwide sales of its original cast album approaching 25 million. While director Joel Schumacher's film turns on his typically ambitious visual verve, its new film soundtrack recording has been paradoxically focused in scope, yet beefed up dynamically via the brawny presence of a hundred piece orchestra and The London Boys Choir. This double-disc version showcases all of Phantom's songs, with Gerard Butler imparting a welcome, youthful sensuality to his Phantom, making a fine foil for Emily Rossum's ever-conflicted Christine. Original show orchestrator David Cullen has fashioned compelling new contemporary arrangements to frame Webber's songs--which now conclude with the lilting, upbeat new ballad he wrote for the film, "Learn to Be Lonely," sung by Minnie Driver's Carlotta. --Jerry McCulley
Spotlight customer reviews: Customer Rating: Summary: Wonderful Comment: This version is superb with dialogue from the film. I play it so often one day the disc will fall apart because the laser will have weakened it, I'm sure! Excellent performances from all the cast. Gerard Butler does 'Music of the Night' proud. Customer Rating: Summary: AN OPPORTUNITY THAT HAS BEEN MISSED... Comment: Phantom of the opera is the second longest running musical in the theatre history. It has been playing since it premiered in London in October 1986 and on Broadway in 1988 on both locations and around the world. Before I say anything about this movie soundtrack, I will give a few insights about the show itself, for the people who are just getting acquainted with it. Phantom, with its operatic and lush melodies, intensive story and grandiose staging, remains one of the best and most beloved musicals of all time. That status was confirmed by the fact that the movie has finally been made after a long time of speculation, directed by Joel Schumacher and produced and worked on by Lloyd Webber himself, which premiered in December 2004. The musical is based on the Gaston Leroux's novel of the same title. It is set in the second part of the 19th century Paris and its famous opera house. The young soprano, Christine, is discovered as a talented young opera singer in the opera house. She is noticed by an old childhood friend, Raoul, and they fall in love. However, we find out that a third person, the mysterious Phantom, hiding behind a mask, is a musical genius who had been giving Christine singing lessons and who has developed a mad passion for his young pupil. He hides in the catacombs of the opera house, lurking on the outside world. He is determined to keep Christine for himself and the story evolves from here. Apart from this interesting plot, the audiences were swept away by Lloyd Webber's tremendous score, which probably remains his best work. It combines the beautiful love songs and sweeping operettic arias, with numerous orchestral leads and crescendos. You can't help but being charmed by this beautiful and haunting score. The large numbers, especially, the last one, will probably move you deeply. The most popular numbers are "The phantom of the opera", a vibrating duet between Christine and the Phantom; "All I ask of you", a lovely love duet between Christine and Raul; Phantom's mesmerizing voice will hold you till the end in "The music of the night", Christine in "Wishing you are somehow here again" will evoke sadness, and many more. One of the main reasons for the success of the show was its original cast recording starring Sarah Brightman, who played Christine, was at that time married to Lloyd Webber and the role was written especially for her. Her soprano was more than adequate for this material and it ranged from low and soft to high and strong. It seems that Michael Crawford was born to play The Phantom not only because of his vocal abilities but also because there is some powerful, almost hypnotic attraction in his voice and performance, exactly how the Phantom is supposed to sound. His vocal transformations from sadness to wickedness are simply amazing. Steve Barton joined The Brightman - Crawford duo with the same power; the warmth in the voice as Raoul says it all. The other members of the cast were also noteworthy, especially Rosemary Ashe, as the snobbish primadonna Carlotta. It was a dream cast put together indeed. The lyrics by Richard Stilgoe and Christopher Hampton are banal and week at time and so some things are left unexplained, such as the source of the Phantom's mysterious powers or what happened to Christine at the time of Raul's old days. Having said all this about the show and its original cast recording, this musical could be made into a first-class movie, if all the things were put in their place. Sadly, this recording shows just the opposite. First, the score. This is the part I'm most satisfied with. It sounds good and lush just as it is on the original recording. However, I didn't notice that a much bigger orchestra was used here, maybe because for the ORC they used a big one too; bigger than the one used in the theatre. The crescendo parts sound almost the same to me on both recordings, so there doesn't seem to be anything new here. I must say I really liked the orchestra part when Christine travels to her father's grave; it seems appropriate and works well as a part of the whole. A plus to the score. Now, the casting. I had my doubts when it was announced and they proved right. Emmy Rossum, as you noted, is the best of the lot. I got quite used to Sarah Brightman, but Miss Rossum's voice has a touch of childish innocence that Sarah's lacked, although there were few moments I wished Emmy would be a bit louder. My biggest complaint is the casting of Gerard Butler as The Phantom. Years before it was finally confirmed that the movie is actually going to be made, there were sites and forums on the net begging Webber to use Michael Crawford in the movie version. This autumn Webber gave an interview for the BBC 2 and said he couldn't do that because of Crawford's age. I can understand that, but I must say that with today's movie technology and make up achievements, it isn't much of an excuse. There were certainly ways and means to use all that to make Mr. Crawford younger than he is, while retaining his voice. As much as he will always be the Phantom for me, I believe it wasn't paramount to cast Crawford in the role. Surely there are a dozen properly trained singers who could sing the role well. And that brings me to the question: Why would Lloyd Webber decide to cast Gerard Butler, who is not a professional theatre or any kind of singer, but has once, as it is stated in the booklet, sung in a band? When I look at his overall performance here, it isn't satisfying. For the most of the time he seems to be really struggling; unable to stretch his voice and hold it as it is intended in most of his big songs. Only in "The music of the night" he sounds to me the way he should. In other his solos he does nothing to me. The echo in the Phantom's voice is nowhere to be found here; they could have recorded it. I understand that Webber had complete control over the casting and that his word was final, so I wished he gave it more thought about whom to cast for this role. I'm sure there were better choices. Even Madonna, whom I don't like much, worked better in Evita than one would expect. Here, we don't even have a big name or a good singer. If Sunset Blvd ever becomes adapted for a film musical, I hope they won't use Glenn Close in it, who, after Patti LuPone's wonderful performance in London, ruined the role of Norma Desmond on Broadway even more than Gerard Butler did with The Phantom. Patrick Wilson, who, I understand, is a professional singer is mostly un-noted in this whole piece, as you pointed out. In my view, his voice basically lacks the strength and I think he is supposed to be older than Christine, as it was shown by Steve Barton on the ORC. Here, obviously, that's not the case. He doesn't seem to be there. Margaret Pierce, who dubbed for Minnie Driver is ok, but a bit over the top on some occasions. The opera managers, Andre and Fermin, are strangely quiet, as if they are in the other room; separated from the other characters, when singing. I noticed there were some minor lyrics changes, but the "Phantom of the opera" sequence is edited here, so there is one part of it missing, as you've probably noticed. Totally unnecessary. Also, some sequences were completely left out, like the part when the managers discuss what to do with the Phantom's opera and the part of the rehearsals for "Don Juan" when Piangi can't sing properly. Some parts that were originally sung are here spoken; it doesn't seem to be much reason for that as well. I must complain that the voice mixing of various characters when singing as in "Primadonna" lacks the coherence it had on the ORC; here it lacks any power and sounds out of order. And lastly, the new song added to the score - "Learn to be lonely". Back when the movie was being made, I read somewhere that the new song was written for the Phantom to sing. Obviously, they changed that and gave us this instead. Sadly, the authors are clearly aimed at Oscar here. But the whole song sticks totally out of the context: the use of the instruments and especially the guitar is opposite from the score and the song is too short. I remember that "You must love me" from Evita had a clear point and suited well with the rest of the score. Here I think Webber wrote a song just for the sake of it and because it was expected of him to give something new. No quality here. Maybe it could work as a single, but there is still the fact that its running time is about two minutes. I have yet to see the movie and figure out its visual side, but the soundtrack is rather disappointing. It's a fine example of a watered-down masterpiece. I can't understand why Lloyd Webber put so little effort in all this. He should appreciate his work much more. The movie version of Evita was a far more satisfying work. Having said all that, I would recommend to all the people who want to hear The Phantom for the first time to buy the original London cast with Sarah Brightman and Michael Crawford if they want to experience all the beauty and valor of this musical. Do not buy this movie soundtrack for your first listening of this score, because you will be disappointed and wonder what was all that fuss about. Only after you get introduced to the ORC, you may purchase this soundtrack only to be disappointed knowing it could have been done much better. All in all, this soundtrack is, as I stated at the beginning, a missed opportunity. Customer Rating: Summary: Softly, deftly, music shall caress you! Comment: WOW!!! I am NOT a fan of opera at all but like another reviewer said, I saw the film and simply HAD to get the soundtrack! I actually borrowed the single disc version from my daughter's friend, but was left wanting to hear all the little bits and pieces that pop up throughout the movie between scenes. For instance when Christine first wakes up in the Phantom's lair and removes his mask. She sings a beautiful song which, (in true Andrew Lloyd Webber style!), becomes a very dramatic piece when the mask is gone and the Phantom gets just a li'l bit cross! Also missing from the single disc version is the piece sung by the Phantom immediately following Masquerade, when he walks in wearing that wonderful red get-up! (It's called 'Why So Silent' if that helps!) If you are a fan of the film, or Gerard Butler, or both, (like me!), you will absolutely love this edition. This CD set is pretty much the whole film! The film runs at about 130 minutes and this CD runs at 120! All the bits and pieces are here, they've left nothing out! People have critisized Butler's singing performance and I would like to have my 2 pennies worth if I may. Andrew Llyod Webber and Joel Schumacher chose Gerard BECAUSE of his voice and acting abilities, (and because he cuts a mighty fine figure on the screen too!) A.L.W wanted the Phantom to have, and I quote..."A rock and roll quality"...And also, let's not forget, the Phantom is a man who is just a tad bonkers from living such a deprived, loveless life. If you loved someone as much as he does Christine, your voice might wobble and growl if her fiance kept turning up at inappropriate moments! Personally, (and I may be biased), I much prefer Gerard's singing to that of Michael Crawford. (I grew up worshipping M.C's version if that says anything). However,now when I listen to Michael Crawford, I can't identify with the Phantom's pain like I can with Butler. It's his raw edges and breath control that makes me listen to Gerard sing time and time again. If you are a 'phan' of the original stage production, you may be diasappointed by the changes to lyrics and storyline here, but all in all, I think this deserves a look, (or should that be listen?!), regardless. It's breathtaking stuff, and perfect for doing the ironing to when you can't just sit and watch the movie! (Too many Gerard visuals to slow me down!) Pop it into your stereo, take the phone off the hook and be drawn into a world where darkness stirs and wakes imagination! Enjoy! Customer Rating: Summary: Phantom of the Opera Comment: I think that this album is one in a million. I am not the greastest fan of opera music as it can be quite daunting,but when i watched the film I knew that i had to get my hands on the soundtrack. I have listened to the album a number of times and at the price that Amazon is selling it, you can't not buy it! i have looked in a number of shops and found that they either don't have it or the price is sky high. I hope that this has been benifical and hope fully encouraged you to buy this music. Customer Rating: Summary: Most amazing voices i have heard Comment: This soundtrack displays some of the finest musi written and some of the greatest singers too... my favourite song on the soundtrack s to be the new song "Learn to be Lonely" as it is such a wonderfull and sympathetic portrayl of the phantom, my second song has to be "Point Of No Return" Gerald Butler sings it with so much passion and sexiness, he really makes us believe he is the one and true Phantom, eventhough he is far from being as ugly as the phantom under the mask he makes you forget it completely. More Reviews