Watch Webber's own writing notes for "The Phantom of the Opera"

In his autobiography, Weber mentioned that the creation of musicals generally has to go through all kinds of running-in, and it is rare that the plot and music quickly cooperate with each other, but when he officially started "The Phantom of the Theater", everything was very good. smooth. Moreover, today's performances still follow the structure that he had sketched out back then. He even said that the play "has not changed a single note between the first rehearsal and the world premiere". I feel that when he wrote these words But so proud.

The book also attached the creation notes of the year, "Finally have the opportunity to write a love duet" Hahaha how much do you want to write, and the song in Box 5 is gone. . .

(The following is an excerpt from Weber's Autobiography: Genius and Ecstasy Behind the Mask). Here are some notes I made about the first act: An opera house that is about to be demolished is going up for auction. Various items related to the plot are displayed and sold. Among the crowd participating in the auction were an elderly lady and an elderly man, Madam Gerry and Viscount Raoul of Charni respectively. There is a music box in the auction item, which was bought by Raoul (music note - starts with dialogue, the first piece of music should come from the music box, and the first lyric should be sung by Raoul). The final lot is a large broken chandelier from the "well-known catastrophe". Like magic, the chandelier was reborn. The dazzling chandeliers rose overhead, while, right before our eyes, the Opera House returned to its former glory days. (Organ chords, assisted by thirty-second notes on the upper pedals of a large organ, play a prelude to the Phantom theme.)

The opera house is lined up with new plays, and the new managers, Mr. Andre and Mr. Firman, have just bought the opera house. The old owners who are taking over and the mysterious Mrs. Gerry tell them that a "phantom" runs the theatre and that he always watches every opera performance in Box 5, so it must be "reserved" at all times. . If you do not comply, a disaster "beyond your imagination" will occur. (This scene should be performed mostly through dialogue to get into the next scene as soon as possible, but we have to hear the opera they're rehearsing. Mayer Bell?) · Day has a soft spot, the latter's best friend is the ballerina Meg, daughter of Mrs. Gerry. The Phantom has been teaching Kristen to sing. He managed to let a piece of the scene fall and nearly hit lead soprano Carlotta. She left in a huff, and took the lead tenor Piangi with her. Her role is topped by Christine, who at first hesitantly won over the audience with her own aria (the song has a big set schedule) and immediately became the talk of Paris. (The aria should have been sung by Carlotta earlier.)

The next scene takes place in Christine's dressing room. Christine explained to Meg that her peculiar teacher was her musical angel (an important track on three or four beats). Next to congratulate the successful performance is Christine's childhood friend, Raoul, Viscount Charni. He was passionately in love with her. (Note, the bizarre things Raoul and Christine shared in childhood. Dark Norse lore, musical talent!) These are heard by the enraged Phantom, who seduces her through a Mirror of magic, rowing her across an underground lake below the Opera House (Organ Chords, Theme Song) to his underground labyrinth.

He did it on a huge pipe organ (note: he was supposed to use a style other than the 19th century to create the...diatonic scale? In the novel his name is Eric! Never - "Eric" Gram's Musical, column title). The Phantom tells her that the music binds them together irreversibly (there should be a great song about the union of love that music can bring...). The night passed. (Did they do anything?) The next morning, Phantom was composing. She pulled Phantom's mask away, revealing that half of his face was deformed. Phantom is furious, but then begs Christine to ignore his looks and see his soul (there should be a major musical motive here).

The Phantom sends Christine back. Opera managers are panicking over the disappearance of young stars, as is Raoul. Carlotta was overjoyed. What drives her crazy is that Christine reappears, and at the same time the Phantom also sends a note (to find a very clear musical motive for the Phantom), asking Christine to replace Carlotta again in the next opera. starring. The two managers scoffed at this. (Not sure how to express the above, the plot volume is large. A song about box 5?) Carlotta ignored the Phantom's orders and continued to perform, only to make a toad-like sound, Meng Step down ashamed. (Funny track, Mozart opera style.)

When Bouquet, a stage worker who knew a lot about the inside story, was found hanged, the theater was in chaos. Raoul took Christine to the roof of the opera house, where the frightened girl poured out beans in a bamboo tube and recounted the terrifying and charming figure she had met. Raoul said he would come to protect her. (Finally got a chance to write a love duet! First, the instrumental performance of a rooftop overlooking Paris.) Christine, too, fell in love with Raoul, and agreed to leave Paris. The Phantom hears it, and in a rage fueled by the pain of the heartbreak, he smashes down the Opera House's chandelier (repeating the love duet and the chords of the Phantom's theme song... where is Kristen - not sure yet). Then came the second act...