Track Listing

Disc 1:

1. Prologue
2. Overture
3. Act One, Scene I: Think Of Me
4. Act One, Scene 2: Angel Of Music
5. Act One, Scene 3: Little Lotte.../The Mirror (Angel Of Music)
6. Act One, Scene 4: The Phantom Of The Opera
7. Act One, Scene 5: The Music Of The Night
8. Act One, Scene 6: I Remember.../Stranger Than You Dreamt It...
9. Act One, Scene 7: Magical Lasso...
10. Act One, Scene 8: Notes.../Prima Donna
11. Act One, Scene 9: Poor Fool, He Makes Me Laugh
12. Act One, Scene 10: Why Have You Brought Me Here.../Raoul, I've Been There
13. Act One, Scene 10: All I Ask Of You
14. Act One, Scene 10: All I Ask Of You (Reprise)

Disc 2:

1. Entr'acte
2. Act Two, Scene 1: Masquerade/Why So Silent...
3. Act Two, Scene 3: Notes.../Twisted Every Way...
4. Act Two, Scene 5: Wishing You Were Somehow Here Again
5. Act Two, Scene 5: Wandering Child.../Bravo, Monsieur
6. Act Two, Scene 7: The Point Of No Return
7. Act Two, Scene 8: Down Once More.../Track Down This Murderer
8. Phantom of the Opera/Entr'acte
9. Phantom of the Opera/Act 2. Scene 1. Masquerade/Why So Silent
10. Phantom of the Opera/Act 2. Scene 3. Notes/Twisted Every Way
11. Phantom of the Opera/Act 2. Scene 5. Wishing You Were Somehow Here Agai
12. Phantom of the Opera/Act 2. Scene 5. Wandering Child/Bravo Monsieur
13. Phantom of the Opera/Act 2. Scene 7. The Point of No Return
14. Phantom of the Opera/Act 2. Scene 8. Down Once More/Track Down This Mur

Product Details

• Amazon Sales Rank: #415 in Music
• Released on: 2001-02-06
• Number of discs: 2
• Formats: Cast Recording, Original recording remastered, Box set

Amazon.com essential recording
What's left to be said about Andrew Lloyd Webber's adaptation of The Phantom of the Opera a decade after its premiere? That it's maddeningly ubiquitous? A stitch-up of various themes shoplifted from the Italian operatic repertoire? A critic-proof crowd pleaser that's probably being staged somewhere in the world as you read this? A megahit that will likely outlive Titanic in the pop-culture pantheon, Phantom has largely redefined--for better or worse--the manner in which modern musicals are conceived, staged, and marketed. Its influence has reached far beyond the traditional confines of London and Broadway. A favorite example: an abridged version that was the centerpiece of Los Angeles's longest-running transvestite revue, replete with 14-inch chandeliers and a man-playing-a-woman-playing-a-man in the title role. --Jerry McCulley

Customer Reviews

A Rich Combination of Power and Passion
When I first heard the music from 'The Phantom of the Opera' 8yrs ago, almost instantly, a surge of emotion and inspiration tingled up my spine and I was in awe of the brilliance of Andrew Lloyd Webber, Charles Strouse, and Richard Stilgoe. The composer, Lloyd Webber, has simply out done himself in this album, more so than in any of his other fantastic musicals. Not only did he choose a fascinatingly mysterious story to create his operatic musical, but his music is so powerful and so stirring for the listener, that they become part of the action in the musical. The lyrics, written by Charles Strouse and Richard Stilgoe, are brilliantly descriptive which creates rich imagery for the listeners. With the combination of both Lloyd Webber's compelling music and the lyricists' words, 'The Phantom of the Opera' is infallable. 'The Phantom of the Opera' consists of a number of songs which would appeal to listeners. The title song, "The Phantom of the Opera", involves the two leading characters, the Phantom and Christine, singing of how the former is incessantly in the mind of the latter. As this song contains rock and opera it would appeal to a wider variety of listeners. "The Music of the Night", one of Lloyd Webber's greatest pieces of music, is one of the most descriptive songs I have ever heard. A soft and haunting tune, this song's lyrics evoke fantastic description for listeners, and create a tension yet a resolution; and is in fact rather paradoxical, but amazing to listen to, as it is powerfully beautiful. "All I Ask of You" is one of the few positive songs in the album, which reveals the strong love between the main female character, Christine, and another central character, Raoul. This song has a touch of opera but is more of a 'musical' type song. Once again the lyrics are superb, involving passionate description. "Wishing You Were Somehow Here Again", is a very stirring song on this album, as it is set in a graveyard. Christine creates a sense of sadness as she sings of how she misses her father, and the listeners are coerced into pitying her situation. Lloyd Webber's music is powerfully emotive and the lyrics are passionate, and thus appeals to the listener's own emotions. "Past the Point of No Return" is another haunting song in this album. When the Phantom sings it, with Christine, he is disguised as another character and he is actually performing to an audience on the stage. This song reveals the situation to the listeners, Christine is past the point of no return, she cannot turn back and must stay with the Phantom all of her life in his dark 'dungeon' below the opera house. The music and the lyrics are both emotive and stirring. The last scene is full of action and resolutions. However, the album leaves the listeners with a mystery, as the Phantom dissapears and leaves nothing but his mask. Yet, the last scene brings my favourite part of music in the whole album, which is when Raoul and the Phantom are singing together; The Phantom: "For either way you choose, you cannot win"; Raoul: "Either way you choose, he has to win." The harmony and the power created when these lines are sung are just outstanding and emotionally stirring. On every other 'Phantom' album I have heard I have not heard it sung nearly as well. Portraying a deformed, violent, obsessive murderer, yet passionate in music and Christine, Michael Crawford had a challenging task ahead of him when he was playing the Phantom. Yet, out of every Phantom I have heard, he is the greatest. Indeed he is not as emotional as Colm Wilkinson (who breathes too much in his portrayal), but he portrays the Phantom graciously and smoothly; Crawford has a massive lung capacity, as he holds onto notes for large amounts of time. The songs in the Phantom do not call for an abrupt and loud voice, as Colm uses in the "Original Canadian Cast" version, but a compellingly soft and smooth voice in which Crawford uses in this album. In fact, I believe Crawford uses fantastic emotions to depict the Phantom, such as when he is singing "I gave you my Music..." at the end of the first disk; the emotions Crawford uses are not over the top, but they are just right, and in my opinion, no one has matched Crawford's unique ability to portray the Phantom yet. Sarah Brightman, out of every other 'Phantom' I have heard, depicts Christine far greater than anyone else. Her voice is very clear and high-pitched and no one else seems to be able to compare. Steve Barton's Raoul is very good, although his voice is not very powerful, he is still very emotive. Overall, "The Phantom of the Opera" 1986 Original London Cast, is by far the greatest album to buy out of all of the other albums. The cast is the best I've heard and the music and the lyrics are awe-inspiring. I have one complaint, though; I would have loved the album to be complete. However, Andrew Lloyd Webber is a genius and with his lyricists has immortalised Gaston Leroux's early twentieth century gothic novel.

Outstanding
I first purchased this cd in 1988, shortly before seeing the show on Broadway. At first, only a couple of songs stood out, but after seeing the amazing production (Michael Crawford's performance was "jaw-dropping") & repeated listenings, I fell in love with the score.

The orchestrations are powerful & many songs really stick with you, especially:

Overture [sounds great cranked up]
Angel Of Music
The Phantom Of The Opera [The Phantom & Christine's great duet]
The Music Of The Night [The Phantom's big song]
All I Ask Of You [Christine & Raoul's duet - though a bit tired]
Masquerade
The Point Of Know Return

Beautiful from beginning to end & MUCH better than the film's soundtrack. Webber's masterpiece!

The Best Musical of All Time...
The Phantom of the Opera is the most popular musical of all time. It has grossed more money than any other stage play - or movie, for that matter! Yet, it is constantly under attack from the critics. Why is this? Well, the answer is quite simple - they have bad taste. Drama critics are not music critics, and music itself is a nebulous area. Most of the criticism of the music has been nonsensical. For instance, many critics have written (in the same review!) that there are no catchy songs in the piece, but they can't get those songs out of their heads. Andrew Lloyd Weber is usually criticized in one of two ways: either that all of his stuff sounds alike, or that all of his stuff sounds like something else. The problem is that these two criticisms are mutually exclusive - they cancel each other out. Another nagging problem is that critics are usually power-mongers - they need to believe that they have influence on which shows succeed and which shows fail. They hate Lloyd Weber because his success mocks their power.

The Phantom of the Opera is one of the best musicals of all time. It is actually an opera - sung almost completely throughout. I have examined the sheet music and it is wonderfully rich and complex. Every song is a gem. The Original London Cast Recording is - by far - the best one to own. We may not have Michael Crawford and Sarah Brightman in the movie, but we do have an almost complete performance by them on disc. Those of us fortunate enough to have seen Crawford's performance know why he is the best Phantom (poor Gerard Butler pales by comparison).