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Andrew Lloyd Webber’s The Phantom of the Opera became an iconic entertainment presented to millions of people by various theaters. The 1986 musical was shown in 35 countries and won 70 awards (Karali 250). Indeed, the success of this show is attributed to an excellent combination of music and visuals (Karali 249). According to Karali, “The Phantom of the Opera shows the affective dimension of music that is felt at a corporeal level of experience,” revealing the secret behind its influence on the observer’s psyche (262). The Phantom contains the elements of magic, mystery, love, obsession, power, and mental illness, embodying human emotions through astounding music that could touch the soul of multiple viewers worldwide (Karali 254). One of the productions was made by the University of Southern Mississippi School of Music and performed at Mannoni Performing Arts Center. Although it was a nonprofessional production, the set and performance of this chamber concert were outstanding. The performers and orchestra dynamically translated the gothic fiction genre of this musical.
This brilliant performance of students was accompanied by chamber music and incredible set design. The construction of different sets throughout the musical was made eloquently to capture spectators’ attention. Furthermore, the use of specific elements such as the crashing-ascending chandelier, music box with a monkey figurine, and half-mask made this production unforgettable (Karali 250). Another essential feature that helped to accentuate the gothic genre of this musical was darkness and dim light. Indeed, dark colors helped to emphasize all other elements bringing them to the foreground. Interestingly, few performers were dressed in technicolor costumes while others wore clothes of relatively modest colors. Specifically, the Opera House’s prima donna Carlotta was often dressed tastelessly and gaudily to disclose her spoiled character. However, the best visual representation of psychological issues was the half-mask of the Phantom. Although the mask was designed to make singing easier for the actor, it still can be perceived as a sign of the ghost’s anger about his appearance and obsessive feelings for Christine.
Lloyd Weber’s music in the Phantom is complex, ranging from comedic mood to the tones of tragedy. It incorporated such instruments as flute, violin, cello, trumpet, horn, clarinet, contrabass, and keyboard. As Karali claims, the music and librettos trigger the “cognitive and affective involvement of the audience” (255). The comical moments in the musical were accompanied by flute, clarinet, trumpet, and contrabass in this chamber concert. On the other hand, the background music during tragic and tense scenes is played by piano, violin, and horns. All performers played their parts exceptionally well, except for one moment, which I do not like. Specifically, it was the conversation between Cristine and Raoul when they sing “that’s all I ask from you,” but it appears that their voices collide instead of merging (“Phantom of the Opera 2017 – Gold Cast,” 1:10:30-1:10:35). However, I think this was the only part that I did not enjoy about this musical. My favorite piece is when Christine expresses her sympathy to the Phantom, who then frees Raoul and lets them go. Indeed, the drums and chorus signing show the triumph of kindness over evil.
To sum up, the Phantom of the Opera is an incredible musical performed many times in various countries. The performance by the University of Southern Mississippi School of Music translated the gothic fiction genre of the musical excellently, using dynamic setting and dark colors that were accompanied by Lloyd Weber’s music. I think all performers did an outstanding job of revealing their characters’ emotions in singing that evoke a strong emotional reaction in the audience. Taking this class was helpful to understand this musical and appreciate the fascinating work done by the director, actors, designers, and orchestra.
References
Karali, Sebnem Nazli. “Musical Affect and the Emotion–Cognition Interaction in The Phantom of the Opera.” Neohelicon, vol. 47 no.1, 2020, pp. 249-263.
“Phantom of the Opera 2017 – Gold Cast.”YouTube, uploaded by USM Music, 2018. Web.
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