The cover page is adapted from Sisäkuva Suomalaisesta Oopperasta, a painting completed in 1919 by Magnus Enckell. The cover and title pages feature the League Spartan and Sorts Mill Goudy typefaces created in 2014 and 2009 by The League of Moveable Type. en.wikipedia.org/wiki/Magnus_Enckellwww.theleagueofmoveabletype.com/
The Phantom of the Opera
Chapitres (28)
- Prologue 0:00
- I: Is It the Ghost? 11:01
- II: The New Margarita 30:44
- III: The Mysterious Reason 50:38
- IV: Box Five 1:06:58
- V: The Enchanted Violin 1:33:24
- VI: A Visit to Box Five 2:02:54
- VII: Faust and What Followed 2:08:56
- VIII: The Mysterious Brougham 2:36:23
- IX: At the Masked Ball 2:53:08
- X: Forget the Name of the Man’s Voice 3:14:40
- XI: Above the Trap-Doors 3:25:56
- XII: Apollo’s Lyre 3:42:10
- XIII: A Masterstroke of the Trap-Door Lover 4:28:40
- XIV: The Singular Attitude of a Safety-Pin 4:50:48
- XV: Christine! Christine! 5:03:21
- XVI: Mme. Giry’s Astounding Revelations as to Her Personal Relations with the Opera Ghost 5:11:53
- XVII: The Safety-Pin Again 5:35:15
- XVIII: The Commissary, the Viscount and the Persian 5:48:06
- XIX: The Viscount and the Persian 5:59:00
- XX: In the Cellars of the Opera 6:11:39
- XXI: Interesting and Instructive Vicissitudes of a Persian in the Cellars of the Opera 6:42:32
- XXII: In the Torture Chamber 7:10:38
- XXIII: The Tortures Begin 7:24:39
- XXIV: “Barrels! … Barrels! … Any Barrels to Sell?” 7:37:43
- XXV: The Scorpion or the Grasshopper: Which? 8:00:36
- XXVI: The End of the Ghost’s Love Story 8:17:08
- Epilogue 8:38:11
Comment écouter → Un problème avec cette narration ? Dites-le-nous →
“When I die and am in Heaven,” Christine Daaé’s father said, “I will send the Angel of Music to you.” It is with these words still in her ears years later that Christine accepts the disembodied voice that speaks to her to claim that divine title, and to give her singing lessons within her dressing room at the Paris Opera, as the fulfillment of her beloved father’s promise. And when those lessons lead her to a performance that astonishes the whole city, who could doubt but that the Angel had indeed come?
Yet there is another, more sinister presence stalking about the Opéra Garnier: the Opera Ghost. A creature who not only makes inconvenient demands—such as the exclusive use of Box Five at every performance, as well as a sizable retainer paid monthly—but who also hangs a man for wandering into the wrong part of the Opera’s cavernous cellars, and sends a chandelier plunging down onto the heads of a packed house when his demands are not met.
But is the Opéra truly host to so many supernatural phenomena, or could it be that the Angel and the Opera Ghost are in fact one and the same? And could it be also that he is far less angel than demon? And if so, will Christine realize her peril before it is too late?