Customer Reviews

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

5 star:		(344)
4 star:		(83)
3 star:		(42)
2 star:		(41)
1 star:		(43)

 

 

Many people will listen to this and immediately compare this to Sarah Brightman and Michael Crawford. People will say that Emmy Rossum is too young, and that Gerard Butler can't sing at all compared to Michael Crawford. Some people will comment that Minnie Driver, rather than being dubbed, should not have been cast as Carlotta. To these I say the following:

Christine is supposed to be a young choir girl. Sarah Brightman is not young, nor a choir girl. Emmy Rossum sang with the Metropolitan Opera when she was seven, and is the perfect age for the part. She has a beautiful, clear voice that doesn't sound (don't get me wrong, I love Sarah Brightman, but...) like her mouth is stuffed with cotton when she sings the high notes.

Michael Crawford is, anyway you look at it, WAY too old to play the sexy, mainstream appealing Phantom that a movie needs. Gerard Butler CAN sing. Don't be fooled by the deeper, fuller tambre his voice has. Deeper isn't bad. In fact, for the mainstream appeal the movie is unarguably shooting for, Gerard Butler's voice is better than Michael Crawford's; none of the tinniness that has a tendency to creep in on high notes ("But that's the Phantom!" the people will say...). Gerard Butler's Music of the Night is great (It's more impressive to be able to reach those notes without having to resort to high falsetto, guys, it gives a fuller, deeper tone.); listen to it and pretend you've never heard Michael Crawford. It's by no means bad, or anything close. I enjoyed it. And his Point of No Return runs circles around Michael Crawford's.

The one constant in every review of the movie (not the soundtrack, the actual movie) is that Minnie Driver's performance as Carlotta is brilliant. Surely you wouldn't say that this excellent performance should not have occured because of a few dubbed singing parts.

Now that I've gotten that out of the way, I love this. The reorchestration is great with a COUPLE of exceptions. What on earth happened to Phantom of the Opera? What's with the claps? And the wailing guitar solo? Woah. I like that it's much fuller, but it Learn to be Lonely. Now I know it's not on the extended edition, thank god, but I felt it's existence needed to be mentioned. Why? For the love of god, why, did the creators of the wonder that is Phantom, write this tripe? Guitar plucking and bongos. BONGOs! Was it for the oscar nomination? There's no chance of this song winning an Oscar! None! Not in a million years! Minnie Driver has a beautiful voice, but displaying it is not worth the humiliation! Ehem. This CD set really deserves 5 stars, I think, but, (to my discredit I admit) I lowered it a star. Not just because of the Phantom of the Opera rock wackiness (though that was a big reason), or the tragedy that is Learn to be Lonely (although that, while it probably shouldn't have, played a small role), but also to acknowledge to diehard fans of the Original Cast that this isn't your old 1987 CD set with one track per disc. They're different singers. Their voices have different tambres. Gerard Butler is not the tenor that Michael Crawford is (thankfully, at some parts). Deal with it, and learn to be happy with a great soundtrack for the long awaited movie version of one of Broadway's greatest shows. December 22nd can't come quickly enough.

I'm not going to write a long review on this soundtrack. Those of you who have only listened to the soundtrack but have yet to see the movie judge too soon and too harshly. All true fans of ALW's Phantom of the Opera will be impressed. The music will come together a lot better when you see the movie. I'm disappointed im myself for not being open to Gerard Butler's part as the Phantom. It's not fair for any of us to criticize him for his singing only because it's different from Michael Crawford's. I'm also not going to revolve this subject about the singers not quite measuring up or that they don't sound like the original cast of almost 20 years ago.

I believe M. Menzer said it best on their review that

"They're different singers. Their voices have different tambres. Gerard Butler is not the tenor that Michael Crawford is... Deal with it, and learn to be happy with a great soundtrack for the long awaited movie version of one of Broadway's greatest shows. December 22nd can't come quickly enough."

Please take this morsel of advice when you approach the silver screen; view the movie with an open mind and do yourself a favor; cast away the sounds of the original cast when you see it. (They're too old to take those parts again and you know it) You'll only disappoint yourself if you don't. You won't be let down, I anxiously await its release on DVD, and will probably see it a couple more times at the theater while I wait.

I'm a Phan and proud to be one. I've seen the stage-show several times plus I own every recording of POTO available. Why does this recording, despite being lambasted by Michael Crawford fanatics, stand out? Reason 1 is the impeccable orchestra and the improved sound. Plus the tempi of the conductor are way superior. Nr. 2 would be the cast. Fresh and new without any baggage they deliver sincere and intense performances. The lead is sung and acted by Gerard Butler. He is one of the few actors whose private persona disappears when he's on screen, even his appearance changes with every part he plays, unlike other Hollywood-Hunks who always play themselves (Brad Pitt...*Cough* Orlando Bloom...*Cough Cough*) He has had over a year of vocal coaching and training before he tackled the role of the Phantom and it shows. I'm one of those who prefers the Phantom to be sung by a rich voice, like Brad Little, Anthony Warlowe, Peter Karrie and Ethan Freeman and not by tenors like Crawford who sound bloodless at times. (Crawford's "Down once more" couldn't scare a mouse) While not yet perfectly controlled Butler's rich baritone sounds perfect for the Phantom, also his ability to shade and colour phrases, to act with his voice is incredible. One thing I love is his "Christine, I looooooooooooooooove......you!" Not spinning a long phrase that merely sounds pretty Butler spins a gorgeous piano and then ends on a firm vocal attack mixed with a sigh of fear until the "you" comes out like a cry for mercy. (Burn, Christine, burn for hurting a precious soul like that) Another detail is the soaring pianissimo on "Touch me! Trust me!". Others sing this as an order, Butler sings it as a gentle plea, absolutely magical. There are MANY more, I just wanted to give you an idea. ;-)
Christine is sung by Emmy Rossum, a great actress in the making. At seventeen she's blessed with the voice of an angel, unlike the matronly sound of Sarah Brightman. Christine is supposed to be a chorus-girl in the beginning. Yes, she blossoms to be a primadonna BUT she's not yet a dramatic soprano d'agilita. I DO believe that if they had waited a year or two her voice would have matured to greater heights (Listen to her and Patrick Wilson on GMA, she improved a great deal!) but she's a wonderful Christine.
Patrick Wilson sings a great Raoul, yet I prefer Steve Barton who's less foppy, acts with less arrogance and selfishness. (Plus he isn't made to look like a girl, poor Patrick, he's a handsome man in real life)
There've been those who dislike it because it isn't the OLC. Oh what a pity that Crawford no longer wants to play the Phantom, come on, if he moved on, so should you! The movie itself is beautiful and different, so I'd suggest to watch both the movie and the stage-show. It's a love-story of endless beauty.

If you know you want this soundtrack and are trying to decide between this version and the one-disc version, it is WELL WORTH the extra $6.50 to get the 2nd disc. I thought that the second disc would contain mainly score from action scenes, without much singing. I was wrong: The 2nd disc has just as much or more singing as the first, and in my opinion all the most poignant moments are on the 2nd disc. All of the intenseley emotional singing that happens after Raoul and Christine declare their love (Christine's fear and uncertainty, her prayer at her father's tomb, the Phantom's anguish, the final showdown in the Phantom's cave, etc.) The songs on the 2nd disc are the heart of story and go much deeper and darker than the showcase songs on the first disc. If you are looking to re-create the movie experience at home, you will cherish the 2nd disc in this set as much as the first.

First of all, let me begin by saying that this is a marvelous score and I am extremely disappointed that some people can't get past the fact that these people are very different from the original cast. I am an opera student and have been for many years. I have seen the original version with Crawford and Brightman and while I can agree that they were great in their time, Rossum and Butler bring a new life to the music.

Brightman's Christine sounds old, she slurs, she just overdoes it. I completely agree with another reviewer when they remind people that Christine is supposed to be untrained. There is a reason why she needs the tutelage of her Angel Of Music. Rossum's voice is clear, her annunciation is perfect and she is youthful. She has life and charisma that frankly, when I reheard the original cast recording, Brightman lacked. I love Brightman, don't get me wrong, but she is not the ideal Christine. Rossum's Think of Me was beautiful, whereas Brightman was a bit too powerful for being a chorus girl. True, Christine is supposed to blow people away, but for a 17 year old, Rossum blew me away.

Moving on to Butler. I adored him. Trust me, it is not easy to bring high notes to life without using a falsetto. I admit that when I first heard a preview of the soundtrack, I was a bit put off by how it sounded. Then I saw the movie and all that changed. I immediately bought the extended version after I left the theatre because I was enthralled by Butler. His voice is rich and powerful. Crawford's voice grated on my nerves after awhile but Butler's voice is simply haunting. He captures the essence of Erik beautifully and brings to his character new sensuality that Crawford did not posses. In Why So Silent, Butler is dark and amazing. This Phantom leaves the viewer reeling with feeling, especially in the All I Ask Of You (Reprise) and in The Point of No Return. In the very last scene, right before Christine leaves him for a final time, I felt Erik's pain as he barely managed to choke out a part of Masquerade. His rendition of "It's over now- the Music of the Night" reduced me to tears. His portrayal and his voice just made the movie come to life even more.

Finishing with Wilson as Raoul, he has an exquisitely youthful voice. I believe this is the first time that I was actually enthralled by Raoul's character. His duet with Rossum in All I Ask Of You was superb. Wilson's voice is very classical and very appropriate for the role.

Overall, the Overture was incredible. The additional orchestration was excellent throughout the whole soundtrack. I particularly loved the additional chords in The Phantom of the Opera. It has a more rockish and modern feel to it which in my opinion far surpassed the original version. When I went back to hear the original, I felt it was rather dull and lacking. Furthermore, the additional music added to the already wonderful score. The only song I was not thrilled with was Learn to be Lonely. I think Driver can sing, but I just don't feel the song fitted. Maybe it will grow on me with time.

This was an exhilarating experience for those who are open-minded and won't automatically reject the singers because they are not the originals.

FYI: ALW personally had these people tested for their musical abilities, so they were obviously chosen for a reason. Don't you think that he would know who was right for his "most personal work"??????

Please, please, please, as another reviewer put it, learn to be happy! Hollywood has finally granted phans with a movie worthy of praise! Let us support it and let us be proud!

After seeing all the negative reviews for this movie and soundtrack, I had to write. People really need to listen to the music without trying to compare it to SB and MC. Yes they were great, but they couldn't possibly do the movie. And those who say the music is tripe, well of course you aren't going like this soundtrack or the movie! What did you expect?

Anyway, I actually prefer Emily Rossum to Sarah Brightman. Brightman is wonderful of course, but at times she doesn't have enought emotion in her voice and she doesn't sound right for the young innocent Christine. Rossum does a wonderful job and I can't believe she was only 17 when the movie was made.

Gerard Butler as the Phantom is a very different Phantom than Michael Crawford. This does not make him worse however, just different. He has a rawer sound (contrary to some reviews, he does not growl or yell his lines, he actually does sing them). Butler was a former rock singer I have read, and this shows in his interpertation of the Phantom. He does an excellent job, though I am sure many purists won't like him just for the reason that he isn't Michael Crawford. Give him a chance, and you might be surprised.

Patrick Wilson also does a good job. His duet with Christine in "All I ask of you" is beautiful. He is the only broadway actor I believe, and he has a perfect tenor to play Raoul

In conclusion, please listen to this without comparing it to MC and SB. Webber and Schumacher knew what they were doing when they cast the parts, they knew they couldn't possibly cast a man in his 60's and a woman in her late 30's to fill these roles. Give the newbies a chance and you will be glad that you did.

I own the original cast from 1986, the 'regular' POTO movie sound track, and this one. I like all three, but I do suggest that if you want more than just the highlights, stick with either the original cast or the 'special extended' version of the movie soundtrack.

The regular movie soundtrack (in effect, highlights) goes manage to get all of the major songs and music in, but the CD is maddeningly incomplete. Just as you expect a bit more, a better transition, more music, more singing, more of the plot, it just isn't there.

However, it's pretty much all here in the extended version, including the song added for the movie (which should have won the Academy Award for best song).

I suppose the arguing as to which version, stage or screen, has the better voices, presentation, and so on will go on for years.

I must admit that, though Michael Crawford has a more 'professional' signing voice, I prefer the raw emotion that Gerald Butler puts into his version of the Phantom.

Perhaps it has to do with the fact that Crawford felt a need to 'protect' his voice, since he is a professional signer. Bulter isn't, so he can belt out a number like there's no tomorrow.

Emmy Rossum is a delight in the role of Christine. She's absolutely gorgeous, and has such a pretty, youthful voice. She sounds young, as she's supposed to sound. Sarah Brightman's voice is more mature, which doesn't fit the roles as well, in my opinion.

Patrick Wilson's Raoul does a good job, though he is one of film's greatest wimps. In 'All I Ask of You', his voice matches Emmy's very well, and it's a memorable performance.

A word, too, for the two junk (make that 'scrap metal') dealers who buy the opera house. Ciarán Hinds and Simon Callow play Firmin and Andre, respectively, and they do a wonderful job in their roles, minor as they may be. You certainly can believe that they are indeed 'amateurs', and are quickly over their heads with a both a diva and a ghost to contend with.

This is such a pleasure. Highly recommended.

I don't know what all the hoopla is about when it comes to Gerard B's singing; he's perfect. The POTO is not SUPPOSED to be a singer; but Butler is nothing short of riveting in this role. His singing is right on the money; it comes from his gut...from his heart. The timbre (NOT "tambre") of his voice is wonderful, deep and resonant. And sexy??? Holy cats!! In the scene where he's singing softly to the music box, then to Christine, through tears, I melt. It doesn't matter if every note is perfect; it matters if you feel what he feels, and you absolutely do!! As for his acting talents, IMHO, they are beyond reproach. His pain is almost palpable; when he cries, I cry.
And Emmy Rossum...I can't imagine anyone else in this part. Sarah Brightman would have had me RUNNING for the nearest exits (sory, SB fans!). Emmy's voice is sweet and clear, and the ending notes of "Think of Me" take my breath away. And "Wishing You Were Somehow Here Again"...One of the most touching songs I've ever heard, sung in the most beautiful, angelic voice.
The best endorsement?? My husband, who'd rather remove his own eye with a pickle fork, watched the whole thing, of his own free will, and really enjoyed it. When I patiently explained that they were going to sing through the whole movie, he said, "But the story's great, and the songs are so good!!" Believe me, you can't beat that!!

I'm assuming if you're considering buying the soundtrack you've gotten over any major critical hangups about the film itself, so let's get to the music. I have the recording of the London cast, and the key pieces are the same except for some minor lyric changes to accomodate the film's moving of the chandelier crash to the end of the movie rather the middle. The second act's "Notes" piece is reduced to "We have all been blind" and "Twisted every way". There are a few new pieces: "Madame Giry's tale" which was underscore to the scene in which Mme Giry describes the Phantom's origins, "Journey to the cemetery" which precedes "Wishing you were somewhere here again", "The swordfight", underscore to Phantom and Raoul's showdown in the cemetery, some extra underscore for the chandelier crash at the end of the movie and some trouble Raoul gets into while trying to reach Christine in the Phantom's lair, and "Learn to be lonely", the end credits song sung by Minnie Driver.

The songs: since most of the score is taken directly from the musical, it's a safe bet that if you liked POTO's music before, you'll like it on this soundtrack. The new pieces are all right but mostly superfluous; other reviewers have noted that "Learn to be lonely" was written because a new song must be written on a soundtrack in order for that song to be eligible for an Oscar nomination. This song is pleasant enough - probably never in the running for an Oscar, but at least we get to hear Minnie Driver's voice. In the movie, her Carlotta is sung by Margaret Preece.

(And don't tell the Phans, but the song "The phantom of the opera" still kind of embarrasses me...sorry, I guess too much of that 80s vibe! and what's with the new improved "clap-clap" beat? Unfortunately the intro to "Music of the night" comes at the end of that track so...take the good with the bad, right?)

The singers: YES, shockingly, Gerard Butler and Emmy Rossum are not Michael Crawford and Sarah Brightman. For pure musical technique MC/SB are probably superior, although I'm not an expert in this subject, and actually Emmy Rossum's voice sounds just as good in the role of Christine as Sarah Brightman's did.

I think the voices of the film actors are more appropriate to the roles - a younger Christine as sung by Emmy Rossum makes more sense when you consider that Christine falls in love for the first time in the story, that she is still having trouble letting go of her father, that she still falls for the whole "angel of music" routine in the first place. Her voice is, if anything, clearer and purer than Sarah Brightman's, and Rossum (who has been with the Met since age 7) spans the range required by the role nicely, all the way to that really really high note in "The phantom of the opera". Rossum's voice matures nicely through the story, from the hesitant Christine in her "Think of me" debut, to the passionate "Point of no return", to finally being able to stand up to her mentor in "Down once more".

Gerard Butler's deeper voice fits my image of the Phantom role well, and makes a nice contrast to Patrick Wilson's smooth tenor. Makes more sense when the bad guy and good guy sound different, right? and, YES, it's evident from the soundtrack Gerard Butler is not classically trained. See the movie though - his acting and the emotion projected in his singing make it easy to excuse the few flaws in his voice, and take the soundtrack as an opportunity to relive the movie. Gerard Butler's Phantom grows on you, and by my 2nd and 3rd listening to the soundtrack I loved it as much as Michael Crawford's technically superior performance - mostly because Butler does a wonderful job expressing the emotion in the songs. "Music of the night" and "Point of no return" are gorgeous in this respect.

Patrick Wilson, who has sung on Broadway, is perfect singing Raoul. As said above, his smooth light tenor counterpoints perfectly with Gerard Butler's Phantom.

If you loved the movie, buy the soundtrack, if only to hold you over till the dvd comes out in May. If you're a Phan, the soundtrack is definitely worth a listen. It's a wonderful new interpretation of our favorite musical.

I was amazed that these 3 actors,Gerard Butler,Emmy Rossum,and Patrick Wilson not only acted so brilliantly in their roles ,but also sang so well. I especially liked Gerard Butler's angry,hurt,jealous portrayal of the phantom which he projected through his singing as well as his acting. I really liked this movie and bought the soundtrack(extended edition) even though ,I wasn't sure ,at first, that this kind of music would appeal to me but now I rather enjoy listening to it.