Did you know that, despite its title, The Phantom of the Opera is not actually an ‘opera’ in the traditional sense? Whilst haunted by elements of classical opera, as well as rock opera, a genre which itself subverts operatic conventions, it is still defined as a musical.  

The music of Phantom, however, owes much to the performance genre and teaches us a lot about opera, from its societal role then and now, to its variety of singing voices, to some of the most famous real-life operas.

What is opera in the traditional sense?

Opera is an abbreviated version of the term ‘opera in musica,’ which is Italian for ‘work in music’. It’s defined as a “theatrical piece of work consisting of a dramatic text, also known as a libretto, that has been set to music and staged with scenery, costumes and movement.” A key difference between a musical and an opera is that opera singers’ voices are not amplified with microphones. For the most part however, the two performance genres have much in common. In both a musical and an opera, music is combined with the libretto, choreography, stage and costume design to tell a story to a live audience. In the family of performing arts, you may think of musical theatre as opera’s younger cousin!

Why the Paris Opera House?

The setting of the show takes place in, on, and beneath the Paris Opera House. You may already be familiar with its real-life counterpart, the Palais Garnier, but do you know why the opera house is significant as a setting?  

After the first ever public opera house, the Teatro San Cassiano, opened in Venice in 1637, such venues became important social and cultural hubs for the upper-class. Still today, the Sydney Opera House, London’s Royal Ballet and Opera and the Palais Garnier itself are home to some of the biggest theatrical events of the year. Given their social and cultural standing, it's no coincidence that Gaston Leroux set his novel within an opera house, and why Andrew Lloyd Webber chose to keep the Paris Opera House as the backdrop of Phantom’s complex relationships and dramatic events.

The many voices of opera

There are a range of voice types, both male and female, within opera. You may already have heard of a soprano, the highest female voice type, and an alto (more formally known as a contralto). In between a soprano and an alto is a mezzo-soprano. The role of Christine, a soprano, is infamous for the demanding high E notes the actors are expected to reach, making the part “opera worthy”.  

As for the male voice range, a countertenor is technically the highest, but it’s the tenor that is more commonly considered the highest male voice. After which comes the mid-range baritone and, the lowest of them all… Yes, you guessed it, the bass.  

Although usually sung by a baritone, the Phantom’s role also involves some impressive high notes characteristic of a countertenor. It’s safe to say that actors cast in any of these roles have not only incredible voices but also, huge range!  

Are the operas in Phantom real?

Not one, but three, operas are performed during Phantom: Hannibal, Il Muto and Don Juan Triumphant. Although all fictitious, they draw inspiration from real-life operas. The striking Hannibal, for example, could be compared to Aida by Verdi. Il Muto’s baroque sensibilities bring Mozart’s The Marriage of Figaro to mind, while Don Juan reflects a more contemporary style. As well as paying homage to these famous works, Phantom celebrates opera as one of the most powerful mediums to tell a love story. Let’s not forget after all that some of the most famous love stories in the world, including La Boheme, Tristan and Isolde and Carmen, are operas!

Does opera have to be traditional?

Not at all! Andrew Lloyd Webber’s musical celebrates and pays tribute to the esteemed performance genre, while turning many of its aspects on their head. Similarly, rock opera is a style of music that both borrows from and challenges classical opera as we know it. Perhaps the most crucial take-away from what The Phantom of the Opera can teach us about opera is that it doesn’t have to be traditional, and that, sometimes, colouring outside of the lines results in some of the most exciting, and timeless, pieces of music and theatre.

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