The novel that inspired the Lon Chaney film and the hit musical. "The wildest and most fantastic of tales."--New York Times Book Review.
The Phantom of the Opera
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Review
“Ingenious . . . breathless suspense.”—The Nation
From the Trade Paperback edition. --This text refers to an out of print or unavailable edition of this title.
From the Trade Paperback edition. --This text refers to an out of print or unavailable edition of this title.
Language Notes
Text: English, French (translation)
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Most Helpful Customer Reviews
193 of 197 people found the following review helpful
Format:Mass Market Paperback
Before the Andrew Lloyd Webber's musical, there was Gaston Leroux's original novel "The Phantom of the Opera". I have never seen the production stage, and I knew only a few things of the story, so when I reached the middle of the narrative I was surprised because it is totally different from what I expected. And it was a great surprise.
More than a love story, "The Phantom of the Opera" is a gothic tale of obsession --leading to madness. The Paris Opera House and its hidden rooms, and underground are perfect place to develop a horror story. Leroux noticed this potential. His descriptions of the place are creepy and in the end we start wondering if it is not a true story indeed.
Leroux was very smart, writing a novel like he was only reporting something --and not creating a work of fiction. Therefore there are police reports, newspapers' scraps, witness interviews. More than a narrator, the person who is telling the story is only gathering useful information for the reader.
His characters are real human beings --even the `ghost', than throughout the narrative we realize that he is the one with most human characteristics. Sometimes, Christine is a little stereotypical, mostly when she says she wants to be `the mistress of her faith' or something like it. And so is Raoul --but that doesn't diminish the qualities of this engaging novel.
All in all, this is a French classic that I highly recommend --however one must be patient because the narrative is a little confusing and slow sometimes, but never boring.
More than a love story, "The Phantom of the Opera" is a gothic tale of obsession --leading to madness. The Paris Opera House and its hidden rooms, and underground are perfect place to develop a horror story. Leroux noticed this potential. His descriptions of the place are creepy and in the end we start wondering if it is not a true story indeed.
Leroux was very smart, writing a novel like he was only reporting something --and not creating a work of fiction. Therefore there are police reports, newspapers' scraps, witness interviews. More than a narrator, the person who is telling the story is only gathering useful information for the reader.
His characters are real human beings --even the `ghost', than throughout the narrative we realize that he is the one with most human characteristics. Sometimes, Christine is a little stereotypical, mostly when she says she wants to be `the mistress of her faith' or something like it. And so is Raoul --but that doesn't diminish the qualities of this engaging novel.
All in all, this is a French classic that I highly recommend --however one must be patient because the narrative is a little confusing and slow sometimes, but never boring.
95 of 98 people found the following review helpful
Format:Kindle Edition
The mask, the music, the dark mysteries, and the tortured, deformed genius who just wants love. "The Phantom of the Opera" is so well known that its story needs no explanation.
But Gaston Leroux's novel is still a spellbinding experience, full of atmospheric horror, a sense of gothic mystery, and lushly evocative language. But its crown jewel is Erik: a magnificently tortured anti-hero who inspires more horror, pity and sympathy than the rather flat hero and heroine.
The Paris opera house is said to be haunted by a ghost with a "death's head," who demands a small salary and a reserved box. Despite the sightings and fears of ballerinas and stagehands, the new managers are determined to stamp out this ridiculous story -- despite threatening letters and increasing accidents that happen around them.
Meanwhile, budding diva Christine Daae is taking Paris by storm, although nobody quite knows who taught her how to sing. And when her childhood friend Viscount Raoul de Chagny pays her a visit, he hears a passionate exchange between her and a man -- but there's no man there. She credits her new vocal abilities to the Angel of Music, but of course, that self-same Angel is the opera ghost.
As the Phantom becomes even more attached to Christine, Raoul soon finds that the ghost is actually a half-mad, horribly deformed musical genius named Erik -- and that after Christine saw his true face, he made her become engaged to him. The young lovers plan to run away together, but the "Angel of Music" isn't about to allow his beloved Christine to leave him...
Apparently there actually were some odd events -- including rumours of an opera ghost -- happening when Gaston Leroux began writing "The Phantom of the Opera." And it's a credit to his imgination that he was able to spin a some odd facts into a harrowing, heartbreaking love triangle that's based on music, obsession, adoration, and a bit of pity. And, of course, a frighteningly sympathetic "villain."
Admittedly the style is very "penny dreadful": melodramatic and overloaded on prose. But Leroux's talent shines through -- he drapes the book in a haunted atmosphere, full of snowy graveyards, dark opera backstages and underground labyrinths, all with Erik's presence hovering over it. The plot is mostly a slow, satiny procession toward the inevitable blowup, but Leroux does tinge it with scenes of romantic drama, a feeling of dread, one shocking action scene, and even some quirky humour at times.
And Leroux's writing is simply astounding as he describes the corpselike appearance of Erik ("... tore his terrible dead flesh with my nails") and his "death's" head appearance at the party. But he also excels at the more poignant moments -- Erik's final, rambling monologue to Christine after she kisses him is heartbreakingly clumsy and saddening.
Though Christine and Raoul are the hero and heroine of the book, they're actually kind of flat. Erik is the real star -- an arrogant genius who is also pitifully lonely. And insane. Despite his crazed behavior -- which results in at least two deaths -- it's hard not to feel sympathy for someone cursed with such a ghastly appearance, and so starved for human contact that a single kiss changes his life ("... he tried to catch my eye, like a dog sitting by its master").
Despite being a bit overblown in the style of its time, "The Phantom of the Opera" is a triumph of atmosphere, horror, and one of the most memorably sympathetic "villains" that you can find on the shelves. Magnificent.
But Gaston Leroux's novel is still a spellbinding experience, full of atmospheric horror, a sense of gothic mystery, and lushly evocative language. But its crown jewel is Erik: a magnificently tortured anti-hero who inspires more horror, pity and sympathy than the rather flat hero and heroine.
The Paris opera house is said to be haunted by a ghost with a "death's head," who demands a small salary and a reserved box. Despite the sightings and fears of ballerinas and stagehands, the new managers are determined to stamp out this ridiculous story -- despite threatening letters and increasing accidents that happen around them.
Meanwhile, budding diva Christine Daae is taking Paris by storm, although nobody quite knows who taught her how to sing. And when her childhood friend Viscount Raoul de Chagny pays her a visit, he hears a passionate exchange between her and a man -- but there's no man there. She credits her new vocal abilities to the Angel of Music, but of course, that self-same Angel is the opera ghost.
As the Phantom becomes even more attached to Christine, Raoul soon finds that the ghost is actually a half-mad, horribly deformed musical genius named Erik -- and that after Christine saw his true face, he made her become engaged to him. The young lovers plan to run away together, but the "Angel of Music" isn't about to allow his beloved Christine to leave him...
Apparently there actually were some odd events -- including rumours of an opera ghost -- happening when Gaston Leroux began writing "The Phantom of the Opera." And it's a credit to his imgination that he was able to spin a some odd facts into a harrowing, heartbreaking love triangle that's based on music, obsession, adoration, and a bit of pity. And, of course, a frighteningly sympathetic "villain."
Admittedly the style is very "penny dreadful": melodramatic and overloaded on prose. But Leroux's talent shines through -- he drapes the book in a haunted atmosphere, full of snowy graveyards, dark opera backstages and underground labyrinths, all with Erik's presence hovering over it. The plot is mostly a slow, satiny procession toward the inevitable blowup, but Leroux does tinge it with scenes of romantic drama, a feeling of dread, one shocking action scene, and even some quirky humour at times.
And Leroux's writing is simply astounding as he describes the corpselike appearance of Erik ("... tore his terrible dead flesh with my nails") and his "death's" head appearance at the party. But he also excels at the more poignant moments -- Erik's final, rambling monologue to Christine after she kisses him is heartbreakingly clumsy and saddening.
Though Christine and Raoul are the hero and heroine of the book, they're actually kind of flat. Erik is the real star -- an arrogant genius who is also pitifully lonely. And insane. Despite his crazed behavior -- which results in at least two deaths -- it's hard not to feel sympathy for someone cursed with such a ghastly appearance, and so starved for human contact that a single kiss changes his life ("... he tried to catch my eye, like a dog sitting by its master").
Despite being a bit overblown in the style of its time, "The Phantom of the Opera" is a triumph of atmosphere, horror, and one of the most memorably sympathetic "villains" that you can find on the shelves. Magnificent.
91 of 94 people found the following review helpful
By JR Pinto
Format:Paperback|Amazon Verified Purchase
This is the third translation of Gaston Leroux's The Phantom of the Opera that I have purchased, and I don't regret it. Most of us are familiar with the "official" translation - the one that is the tie-in for the musical (and countless other editions). Leonard Wolf gives us a newer and - as he feels - more faithful interpretation of the French text. (Sidenote: In the tie-in translation, the Phantom never refers to himself as the Phantom: only as the Opera Ghost, or O.G. In this version, he is always the more musical Phantom of the Opera.)
If you have not read Phantom yet, you may be a bit distracted by the voluminous footnotes. For the familiar reader however, the footnotes are the main reason to buy this edition. Wolf provides valuable insight into many areas of the text. He points out inconsistencies: Raoul goes from being 21 to 20. He provides commentary on the mythological allusions in the text.
Most valuable, he provides artistic commentary on the book. He shows how Phantom fits into Gothic conventions: the damsel-in-distress being menaced by a sexually threatening outsider, only to be rescued by a non-sexual aristocrat. But it is not quite that simple; Wolf shows that there are only two protagonists in the piece: Christine and Erik. He rightly shows Raoul for the foolish little sap that he is. He thinks that Leroux intended it to be that way, and that Christine has a much stronger bond with Erik than she does Raoul.
On the whole, I wish Wolf had written more. How about interpretive essays on the various adaptations, including the Lloyd Weber musical? He does include a lengthy introduction about the novel and Gaston Leroux himself. This volume is a must-have for any Phantom-enthusiast.
If you have not read Phantom yet, you may be a bit distracted by the voluminous footnotes. For the familiar reader however, the footnotes are the main reason to buy this edition. Wolf provides valuable insight into many areas of the text. He points out inconsistencies: Raoul goes from being 21 to 20. He provides commentary on the mythological allusions in the text.
Most valuable, he provides artistic commentary on the book. He shows how Phantom fits into Gothic conventions: the damsel-in-distress being menaced by a sexually threatening outsider, only to be rescued by a non-sexual aristocrat. But it is not quite that simple; Wolf shows that there are only two protagonists in the piece: Christine and Erik. He rightly shows Raoul for the foolish little sap that he is. He thinks that Leroux intended it to be that way, and that Christine has a much stronger bond with Erik than she does Raoul.
On the whole, I wish Wolf had written more. How about interpretive essays on the various adaptations, including the Lloyd Weber musical? He does include a lengthy introduction about the novel and Gaston Leroux himself. This volume is a must-have for any Phantom-enthusiast.
Most Recent Customer Reviews
3.0 out of 5 stars
longest novella ever
The phantom of the opera is a fantastic story, if you can stand the writing style. This novella took me longer to read than les miserables. Read more
Published 12 hours ago by Chae'launa
1.0 out of 5 stars
Terrible
This book is terrible and the writer should feel terrible for writing this book. I do not recommend reading this book.
Published 4 days ago by Kenneth Conrady
3.0 out of 5 stars
Strange things happen at the Paris Opera - but is it The Ghost, or...
Frankly, the musical version is more engaging! The storyline is highly improbable, verges on a fantasy story. Read more
Published 7 days ago by Sue Ford
4.0 out of 5 stars
Interesting
Interesting another view point from what we used to know and from the film itself. Details are great giving you a clear picture
Published 8 days ago by Anthony
5.0 out of 5 stars
Excellent
Great book. If you have seen the play as a young child this book brings it to life so much more.
Published 11 days ago by Nicole Stahls
5.0 out of 5 stars
Phantom of the opera
I liked this book because it was well written and well detailed about everything. There wasn't anything that I didn't like about it,except the end when Erik dies of a broken heart. Read more
Published 14 days ago by Alexandra Knoff
5.0 out of 5 stars
phantom of the opera
wow... the best book I have ever read is this book. from now on, this is my favorite book!!!! Amazing!
Published 17 days ago by Abbie Hibler
5.0 out of 5 stars
Good classic book
This was the free book that came with my Kindle app installation on my 3rd generation iPad. That was nice of Amazon to provide a free classic eBook.
Published 18 days ago by Cameljok
5.0 out of 5 stars
Wonderful Book, average translation
The book itself is a wonderful piece of art and literature. I enjoyed reading it to the fullest from beginning to end. One problem though. Read more
Published 20 days ago by ben hamilton
5.0 out of 5 stars
Great story!
I liked the book as much as the movie and the Broadway production. The book fills in all of the missing pieces for those of you who love the story. Read more
Published 22 days ago by LadyL
Citations (learn more)
This book cites 5
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100
books
cite this book:
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- Romeo And Juliet (Opera Score, French and English) (Vocal Score, French and English) by T Baker on page 22
- The Phantom of the Opera (Great Illustrated Classics) by Gaston LeRoux in Back Matter
- The Phantom of the Opera (Dodo Press) by LeRoux Gaston LeRoux in Back Matter
- Don Juan by Wolfgang Ama Mozart on page 169
- The Phantom of the Opera by Barry Leroux in Back Matter
- Phantoms of the Opera by John L. Flynn on 56 pages
- The Phantom of the Opera (Hollywood Archives Series) (v. 1) by Philip J. Riley on 35 pages
- The Undergrounds of the Phantom of the Opera: Sublimation and the Gothic in Leroux's Novel and its Progeny by Jerrold E. Hogle on 34 pages
- A Quaint & Curious Volume of Forgotten Lore: The History & Mythology of Classic Horror Films by Frank J. Dello Stritto on 13 pages
- Grammar for Middle School: A Sentence-Composing Approach by Don Kilgallon on 6 pages
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