The first time I saw the movie version of The Phantom of the Opera was on the CCTV movie channel. When I turned the stage at random, I caught up with the classic scene of the heroine Christine making her debut on the stage to sing think of me. The remote control stopped there, and I was completely convinced by the beautiful singing in the play; a few years later, I saw this movie by another chance, and in the second encounter, I became a marionette of the Phantom. unstoppable. I bought a CD of the stage play, turned off the lights, closed the doors and windows, turned up the stereo, and indulged in the dark world of ghosts and unfathomable darkness for several nights in a row...
Now, I'm sitting in the MAJESTIC theater on Broadway, Finally, I was able to get in touch with the phantom at zero distance.
Maybe it's because I'm too familiar with the show, coupled with the uncontrollable excitement, I always found it difficult to focus and devote myself at first. At the auction scene in the first act, the actors did not seem to be connected to the PA equipment. Sitting in the last row, I began to worry about the auditory effect of the opera; because the distance was too far, the classic crystal lamp fell from the sky. The effect did not give me any shock; in the cheerful Hannibal group dance, I have been inexplicably entangled whether the stage is too small and cramped; even Christine's think of me did not bring me expectations In the middle of the cloud, the sun has a new look...
Until the voice of the phantom appeared, all doubts disappeared in an instant!
That show was starring HUGH PANARO. He is one of the few actors in Broadway history who has played both the Phantom and Ural (male number 2) roles at the same time. He returned to Broadway in 2010 and has played the role of The Phantom ever since. Since its performance in 1988, the Broadway stage has experienced 11 Phantoms, each of which is different and has its own advantages. What the Phantom should look like is a matter of opinion. After all, every audience has an unspeakable and irreplaceable phantom in their hearts. I want to say that in terms of vocals alone, HUGH is undoubtedly the most exciting. Unlike most Phantom players, HUGH seldom uses force to show the darkness and fury of Phantom. His magnetic voice does not need artificial processing, and naturally drags out a subtle hoarseness in the deep place, instantly capturing the hearts of the audience, and involuntarily giving birth to love and longing. His performance is gorgeous and smooth, and it is the most gentle and moving phantom on Broadway in my mind. RAMIN, who debuted in the West End of London, is also a very well-known phantom. After watching the video of his 25th anniversary commemorative performance at Albert Hall, I thought he was the stage phantom who brought the strongest visual impact. Perhaps, that's why Webb chose him for that important show. His unparalleled body language and detailed facial expressions reveal the inner contradiction and pain of Phantom to the fullest. His sincerity and devotion are equally tear-jerking...
I like both Phantoms, one is poetically gentle and sad, suitable for To listen and pity in the dark; one is to be defeated and captured in a face-to-face confrontation...
I am thankful that I met HUGH on the scene. For this phantom, the distance of space will not be an obstacle to appreciating him at all, and you can also feel his elegance and splendor when you close your eyes.
Weber once said that MARIA, the live stage design of The Phantom of the Opera, contributed to the success of the opera, and this is also a charm that can only be experienced at the theater. The most impressive scene is that Christine follows the angel of the music, and gradually walks into the underworld of the Phantom from the hanging bridge that appeared in the air. In the steaming mist, the two of them sang and sailed from the depths of the stage. The candlestick slowly floated on the lake, and the gentle candlelight flickered like a star. This is the first and only time that Christine has no scruples of worship and obsession with the Phantom. In her wave after wave of singing, you can see the souls of the two people eagerly embrace, tightly entangled, spiraling up, up, up again... Christine completely melted into the phantom in the music of the night. Affectionately telling... I
don't agree with some film critics' arguments about Christine's lack of love for the Phantom. Obviously, the whole play is a love ode to two people. The existence of the male No. 2 Ural is nothing but a symbol of a worldly symbol, an embodiment of the sense of security and certainty that mortal women usually cannot resist when they pursue love. Even the classic chorus of Ural and Christine, all I ask of you, is not intended to show the love between the two, but to portray Christine's troubles in the face of the Phantom's love. The deepest sting is hiding in the dark and witnessing all this phantom, in order to pave the way for the final climax of love swan song past the point of no return.
In his inner struggle, Christine was powerless to seek answers in front of his father's cemetery. She deceived herself countless times, telling herself to forget the past and the phantom. However, when the voice of the phantom surrounded her in all directions, she threw herself into the embrace of the phantom without any resistance. Bewitched by the Phantom? No! It is the true choice that the soul cannot deceive itself!
Christine, don't hesitate any longer! Stepping across this bridge, looking back at it being burnt out in the fire, we, there is no turning back!
Stop thinking about "what if" and "when", make a decision, in this moment!
Just because he is too young and too weak, Christine has no way to detach from the world, no way to ignore everything, no way to follow his own soul, to accept the phantom's deep night, earth-shattering and overwhelming love.
Even so, Christine, I love you!
MASQURADE, the joyful laughter that once appeared in front of the grand staircase of the Paris Opera House. Now, when people go to the empty building, there is only the juggling monkey music box left, slapping the cymbal alone... I
really hope this world will always be a masquerade ball, as long as you wear a mask and hide behind, the world will never be the same again. no one can recognize you...
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