THE PHANTOM OF THE OPERA libretto.txt

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The Phantom of the Opera
Music: Andrew Lloyd Webber
Lyrics: Charles Hart + Richard Stilgoe
Book: Andrew Lloyd Webber + Richard Stilgoe
Premiere: Thursday, October 9, 1986
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THE STAGE OF THE PARIS OPERA, 1905
(The contents of the opera house is being 
auctioned off. An AUCTIONEER, PORTERS, 
BIDDERS, and RAOUL, seventy now, but still 
bright of eye. The action commences with a 
blow from the AUCTlONEER's gavel)

AUCTIONEER 
Sold. Your number, sir? Thank you.

Lot 663, then, ladies and gentlemen: a poster 
for this house's production of "Hannibal" by 
Chalumeau.

PORTER 
Showing here.

AUCTIONEER 
Do I have ten francs? Five then. Five I am bid. 
Six, seven. Against you, sir, seven. Eight. 
Eight once. Selling twice. Sold, to Raoul, 
Vicomte de Chagny.

Lot 664: a wooden pistol and three human 
skulls from the 1831 production of "Robert le 
Diable" by Meyerbeer. Ten francs for this. Ten, 
thank you. Ten francs still. Fifteen, thank you, 
sir Fifteen I am bid. Going at fifteen. Your 
number, sir?

665, ladies and gentlemen: a papier-mache 
musical box, in the shape of a barrel-organ. 
Attached, the figure of a monkey in Persian 
robes playing the cymbals. This item, 
discovered in the vaults of the theatre, still in 
working order.

PORTER (holding it up) 
Showing here. (He sets it in motion)

AUCTIONEER
My I start at twenty francs? Fifteen, then? 
Fifteen I am bid.

(the bidding continues. RAOUL. eventually 
buys the box for thirty francs)

Sold, for thirty francs to the Vicomte de 
Chagny. Thank you, sir.

(The box is handed across to RAOUL. He studies it, as 
attention focuses on him for a moment)

RAOUL (quietly, half to himself, half to the 
box)
A collector's piece indeed . . . 
every detail exactly as she said . . .

She often spoke of you, my friend ....
Your velvet lining, and your figurine of lead...

Will you still play, 
when all the rest of us are dead?

(Attention returns to the AUCTIONEER, as he 
resumes) 

AUCTIONEER 
Lot 666, then: a chandelier in pieces. Some of 
you may recall the strange affair of the 
Phantom of the Opera: a mystery never fully 
explained. We are told ladies and gentlemen, 
that this is the very chandelier which figures in 
the famous disaster. Our workshops have 
restored it and fitted up parts of it with wiring 
for the new electric light, so that we may get a 
hint of what it may look like when re-
assembled. Perhaps we may frighten away the 
ghost of so many years ago with a little 
illumination, gentlemen?

(The AUCTIONEER switches on the chandelier 
There is an enormous flash, and the OVERTURE 
begins. During the overture the opera house is 
restored to its earlier grandeur. The chandelier 
immense and glittering, rises magically from 
the stage, finally hovering high above the 
stalls)

ACT 1
Scene 1
REHEARSALS FOR "HANNIBAL" BY CHALUMEAU

(We have reached the great choral scene in 
which HANNIBAL and his army return to save 
Carthage from the Roman invasion under 
Scipio. HANNIBAL is UBALDO PIANGI; 
ELISSA, Queen of Carthage (his mistress) is 
CARLOTTA GUIDICELLI. The two leading 
SLAVE GIRLS are played by MEG GIRY and 
CHRISTINE DAAE. MME. GIRY is the ballet 
mistress. M. REYER, the repetiteur, is in 
charge.

We join the opera towards the end of ELISSA's 
(CARLOTTA's) great aria. She is alone, holding 
a pre. from the approaching HANNIBAL, a 
bleeding severed head)

CARLOTTA (at the climax of an extravagant cade)
This trophy from our saviours, from the 
enslaving force of Rome!

(A STAGE HAND carries a ladder across the 
stage. OTHERS are seen still constructing 
parts of the scenery)




GIRLS' CHORUS 
With feasting and dancing and song, 
tonight in celebration 
we greet the victorious throng, 
returned to bring salvation!

MEN'S CHORUS 
The trumpets of Carthage resound ! 
Hear, Romans, now and tremble! 
Hark to our step on the ground!

ALL 
Hear the drums - Hannibal comes!

(PIANGI enters, as HANNIBAL)

PIANGI (HANNIBAL) 
Sad to return to find the land we love 
threatened once more by Roma's far-reaching 
grasp.

REYER (interrupting him) 
Signor . . . if you please: "Rome". We say 
"Rome' not "Roma"

PIANGI
Si, si, Rome, not Roma. Is very hard for me.
(practising) Rome . . . Rome . . .

(Enter LEFEVRE, the retiring manager of the 
Opera, with M. FIRMIN and M. ANDRE, to 
whom he has just sold it)

REYER (to PIANGI) 
Once again, then, if you please, Signor: "Sad to 
return . . ."

LEFEVRE (to ANDRE and FIRMIN) 
This way, gentlemen, this way. Rehearsals, as 
you see, are under way, for a new production of 
Chalumeau's "Hannibal".

(seeing a hiatus in the rehearsal, LEFEVRE attempts to 
attract attention.)

LEFEVRE
Ladies and gentlemen, some of you may already, 
perhaps, have met M. Andre and M. Firmin ...

(the new managers are politely bowing, when REYER 
interrupts)

REYER
I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't 
mind waiting a moment?

LEFEVRE
My apologies, M. Reyer. Proceed, proceed ...

REYER
Thank you, monsieur (turning back to PIANGI).
"Sad to return..." Signor ...

LEFEVRE (sotto voce to ANDRE and FIRMIN)
M. Reyer, our chief repetiteur. Rather a tyrant, I'm 
afraid.

(the rehearsal continues)

PIANGI (HANNIBAL) 
Sad to return to find the land we love 
threatened once more by 
Rome's far-reaching grasp.
Tomorrow we shall break 
the chains of Rome.
Tonight, rejoice - your army has 
come home.

BALLET GIRLS begin their dance. 
LEFEVRE, ANDRE and FIRMIN 
stand centr-stage watching the 
ballet. They are in the way. The 
ballet continues under the 
following dialogue.)

LEFEVRE (indicating PIANGI) 
Signor Piangi, our principal 
tenor. He does play so opposite 
La Carlotta.

GIRY (exasperated by their 
presence, bangs her cane angrily 
on the stage) 
Gentlemen, please! If you would 
kindly move to one side?

LEFEVRE 
My apologies, Mme. Giry.
(leading ANDRE and FIRMIN 
aside) 
Mme. Giry, our ballet mistress. I 
don't mind confessing, M. 
Firmin, I shan't be sorry to be rid 
of the whole blessed business.

FIRMIN 
I keep asking you, monsieur, why 
exactly are you retiring?

LEFEVRE (ignoring this, calls 
his attention to the continuing 
ballet) 
We take a particular pride here in 
the excellence of our ballets.

(MEG becomes prominent among the dancers)

ANDRE
Who's that girl, Lefevre?

LEFEVRE
Her? Meg Giry, Madame Giry's 
daughter. Promising dancer, M. 
Andre, most promising.

(CHRISTINE becomes prominent. She has absent-
mlndedly fallen out-of-step)

GIRY (spotting her, bangs her cane again) 
You! Christine Daae! Concentrate, girl!

MEG (quietly, to CHRISTINE) 
Christine . . . What's the matter?

FIRMIN (to LEFEVRE) 
Daae? Curious name.

LEFEVRE 
Swedish.

ANDRE 
Any relation to the violinist?

LEFEVRE 
His daughter, I believe. Always has her head in the 
clouds, I'm afraid.

(The ballet continues to its climax and ends. The 
CHORUS resumes)

CHORUS 
Bid welcome to Hannibal's guests -
the elephants of Carthage! 
As guides on our conquering quests, 
Dido sends 
Hannibal's friends!

(the ELEPHANT, a life-sized mechanical replica, enters. 
PIANGI is lifted, in triumph, onto its back)

CARLOTTA (ELISSA)
Once more to my 
welcoming arms
my love returns 
in splendour!

PIANGI (HANNIBAL)
Once more to those
sweetest of charms
my heart and soul
surrender!

CHORUS
The trumpeting elephants sound 
hear, Romans, now and tremble! 
Hark to their step on the ground 
hear the drums! 
Hannibal comes!

(At the end of the chorus LEFEVRE claps 
his hands for silence. The elephant is led 
off. Two stage-hands are revealed operating 
it from within)

LEFEVRE 
Ladies and gentlemen - Madame Giry, thank 
you - may I have your attention, please? 
As you know, for some weeks there have 
been rumours of my Imminent retirement. I 
can now tell you that these were all true and 
it is my pleasure to introduce to you the 
two gentlemen who now own the Opera 
Populaire, M. Richard Firmin and M. 
Gilles Andre.

(Polite applause. Some bowing. 
CARLOTTA makes her presence felt)

Gentlemen, Signora Carlotta Giudicelli, our 
leading soprano for five seasons now.

ANDRE 
Of course, of course. I have experienced all 
your 
greatest roles, Signora.

LEFEVRE 
And Signor Ubaldo Piangi.

FIRMIN 
An honour, Signor.

ANDRE 
If I remember rightly, Elissa has a rather 
fine aria in Act Three of "Hannibal". I 
wonder, Signora, if, as a personal favour, 
you would oblige us with a private 
rendition? (Somewhat acerbic). Unless, of 
course, M. Reyer objects . . .

CARLOTTA 
My manager commands . . . 
M. Reyer?

REYER 
My diva commands. Will two bars 
be sufficient introduction?

FIRMIN
Two bars will be quite sufficient

REYER (ensuring that CARLOTTA is ready)
Signora?

CARLOTTA
Maestro.

(The introduction is played on the piano)


CARLOTTA
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.

When you find
that, once
again, you long
to take your heart . . .

(As CARLOTTA is singing a backdrop crashes to the 
floor cutting her off from half the cast)

MEG/BALLET GIRLS/CHORUS
He's here:
the Phantom of the Opera . . .
He is with us . . .
It's the ghost . . .

PIANGI (looking up, furiously)
You idiots!

(He rushes over to CARLOTTA)
Cara! Cara! Are you hurt?

LEFEVRE
Signora! Are you all right? Buquet! 
Where is Buquet ?

PIANGI
Is no one concerned for our prima donna?

LEFEVRE
Get that man down here ! 
(to ANDRE and FIRMIN)
Chief of the flies. He's responsible for thi...
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