The beat and power of the Phantom’s theme in the “Overture” return in “The Phantom of the Opera,” while Sarah Brightman (the original Christine) shows off a deeper, richer tone as well as an expert vocal range. It continues on to the cryptic and more chilling “Little Lotte/The Mirror (Angel of Music reprise),” and then to the sinister, magnificent, and surprisingly catchy titular song, “The Phantom of the Opera.” The higher range and gentle yet mystical melody of “Angel of Music” makes for an achingly beautiful addition to the soundtrack. It is mesmerizing enough that, by the time the listener reaches the end of the track, they are also captivated. The lyrics of “Think of Me,” which beseech a parted lover to “remember me” and “recall those days / look back on all those times,” reflect Christine’s charisma, the force that draws both the Phantom and her eventual fiancé, Raoul, to her. The musical’s theme crescendos dramatically at the end of the Overture, only to segue into the sweeping, graceful tune of “Think of Me.” Of course, in the musical, these two songs are not performed successively, but in the soundtrack, the immediate change in tone gives life to the dichotomy between the Phantom and young Christine. The majesty of the organ combined with the minor key, the descending chromatic scales, and the beat laid out by the drum set bring the enigma and peril of the Phantom to life. Right from the “Overture,” the album embodies both the essence of theater and downright cool ness. The Phantom of the Opera soundtrack is powerfully written, enthralling, and snappy. Given my general liking for musicals and that it is the longest-running one of all time, I decided I probably ought to.
The Phantom of the Opera steals the audience away, bringing the drama, emotion, and terror to life.Ī few months ago, at some ungodly hour of the night (for me, around 11:30 p.m.), it struck me that I had not yet listened to The Phantom of the Opera soundtrack.
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