Long years of waiting, plotting, and planning. Silent years. Then, in the quiet darkness, the sounds of the ocean sweeping upon the shore. A name is whispered with reverence. A name known to thousands. Bright lights! Sights never seen before. But the sounds. . . The notes. . . Gently floating towards us . . . Dancing and teasing our minds, allowing us a glimpse into just one of many possible “endings” to one of the most infamous stories in history.
I spent quite some time debating with myself as to whether or not to bother with the musical “Sequel” that Andrew Lloyd Webber finally wrote as a follow up to “The Phantom of the Opera”. The first time I even heard of the idea was when I was watching his 50th Birthday celebration at the Albert Hall. He announced the song as one he hoped to be featured in what he planned to be the official sequel to “Phantom”. The song was called “The Heart is Slow to Learn”. It was lovely. This song has had a very long journey, as described by ALW before the Libretto for the long-awaited sequel, now entitled “Love Never Dies” featuring this lovely melody reworded for the new story.
When I heard that it was finally being put into production, I couldn’t picture it. . . Or hear it! I thought that Coney Island was the strangest place for the story to continue. Every time I told people this, they didn’t believe it either.
My first thoughts were: “I don’t want to listen to it. I don’t want to know the story. I will never listen to the original in the same way.” Ultimately, I realized that every time I read (or wrote!) a different “possible” ending to the story, I listened to the original differently. “The Phantom of the Opera” has changed with me, as I have grown up in these past 16 years. I knew that it was pointless. I gave in, and purchased the original recording of “Love Never Dies” when it was released on the same day that the show premiered in London.
It wasn’t until Bright week of 2010 that I finally listened to it. All of it. Word by word. Note by note. I was prepared to hate it. After reading some info on Coney Island (the first amusement park in the world) it finally hit me: This setting makes perfect sense! What is interesting about this recording is that, not only does it contain all spoken as well as sung lines, but sound effects as well as music. It is set up very similarly to the original.
This is a review of he recording on Amazon.com. He also saw the show. I agree with most of what he says. MY THOUGHTS ARE CAPITALIZED ;-)
“Let me start by saying that the story is not as strong as the original, none of the Gothic gore implied by The Phantom, this is a more human one. The phantom is not below anymore, but towers above, in a penthouse overlooking Coney Island. He can now 'walk amongst man' another freak in a permanent freak show. Hence, the phantom we meet here is less mysterious, his torment more complex, not just obsession, but vulnerability. The story falters at times, I must admit it, yet the show is beautifully done and manages to move you and close the chapter.
The music
1. Prologue
2. The Coney Island Waltz
3. That's the place that you ruined, you fool!
---A terrible opening for a show, akin to the dreadful opening to the woman in white (a show that should not have existed and has been mercifully musically remade into Love never dies). The saving grace is the Waltz and its marvelous projections (on the show) a lovely piece, truly pure Webber. That's the place you ruined, fool and prologue could go amiss and no one will notice.
4. Heaven By The Sea
---- nice song, a touch out of place with the darker more romantic music, but attempting to capture the banality and lightheartedness of the time and the society in NY at the time. It serves its purpose, the core musical theme being lifted mainly from a repetitive melodic phrase used to death in woman in white, still, nice.
5. Only For Him / Only For You
-----A nice song with a less forthcoming orchestration, lovely melodic tilt, intended to show Meg's love for the Phantom. It appears Webber tried to make a clear distinction between the deep love the phantom has for Christine with the 'cheap' and brassy tolerance he shows Meg, one (Christine's) is for sustenance, the other (Meg) is for survival. I like this song, maybe the distinction marked by the styles is rather too wide, making it two dimensional and one sided (leaning towards Christine)It achieves that.
6. The Aerie
----A lovely, haunting, beautiful instrumental, right from the bowels of the Phantom of the opera. Thick, serene, moving. I DO NOT CARE FOR IT. THIS IS A TYPICAL ALW MIX OF BEAUTY AND DISSONANCE, WHICH I USUALLY CAN’T STAND ;-)
7. Til I Hear You Sing
---Now we are talking, this is a magnificent song, a true descendant from the original Phantom. A pure display of the best Lloyd Webber can produce. Ramin is absolutely brilliant in it, This song makes the whole show worth it, really.” I ABSOULUTELY AGREE! THIS IS AN INCREDIBLE SONG TRULY WORTHY OF THE ORIGINAL
8. Giry Confronts The Phantom / 'Til I Hear You Sing
---A nice excuse for listening to Ramin again. Giry's bit is typical of the sung through melodic style in Phantom. Very well done by Giry.
9. Christine Disembarks
---mostly spoken, snippets of melodies in the background, mainly themes that will develop later
10. Arrival Of The Trio / Are You Ready To Begin?
I don't care for the three new characters..the Phantom's henchman. Their a-melodic and tense musical themes grind me, not good voices, neither great lyrics, they just add to the oddness that is the phantom, but are never developed enough to matter or to add any depth to the phantom, They are cliches that fill in space. I wish a judge would give Webber a court restraining order so he cannot get near electric guitars, he seems to think that by using them he is 'edgy', wrong! Lovely melodic bit at the end for Gustave, again, lots from woman in white.
11. What A Dreadful Town!...
---I like this song. A lovely string punctuation quite different from Webber's style. Mature, efficient.
12. Look With Your Heart
---Beautiful waltz, sweet, with surprising melodic changes that slide into one another. Fresh and tender.
13. Beneath A Moonless Sky
--This is the heavy bit! the first few notes and chords are straight from the beginning of the song 'the phantom of the opera', as the phantom enters Christine's room and sees her for the first time in ten years. Although the refrain in this song will remind you of the cell block tango from Chicago (I mean it) it is a powerful, beautiful ballad (kind of a tango as well) here we get the whole story of what happened in the last ten years, a bit of a rush, but such a powerful song, the phantom has entered the room...really a triumph. THIS SONG IS VERY RECOGNIZABLE IF ONE HAS SEEN THE MOVIE AS MANY TIMES AS I. ALW USED THE ORCHESTRATIONS THAT HE WROTE FOR THE “JOURNEY TO THE CEMETARY” AND PUT WORDS TO IT. I WAS DELIGHTED BY THIS AS I LOVED THAT PIECE WHEN I FIRST HEAR IT IN THE FILM.
14. Once Upon Another Time
---Less of a song than above, but still sweet and lovely with a great melodic surge, dense with meaning and very much an aria in the opera style.
15. "Mother Please, I'm Scared!"
--Incidental stuff, the phantom meets Gustav...we get the electric guitar...bearable...it works, just enough, the right balance.
16. Dear Old Friend
---Great song a la notes in Phantom. cleverly worded, with touches of the original show and to great effect. It does have the same rhythmic style as Prima Donna , and the scene calls for it, as Meg is a Prima Donna in her work at Coney and Christine is a Prima Donna in her own right, with the trick from 'notes' of shifting between conversations. I LOVE “NOTES” IN THE ORIGINAL. SOMEHOW WHEN IT IS SEVERAL CONVERSATIONS GOING ON TOGETHER AND BEING SUNG. . . IT JUST WORKS.
17. Beautiful
---Haunting, sweet melody for Gustave.
18. The Beauty Underneath
---Loved by some, hated by almost every single soul that saw the show when I saw it. Too much guitar, too far off the musical style for the show, too modern. Honestly, I hated at the moment. One can imagine Elton John playing a set with AC/DC...it has its moments and many will like it...I found it a low point in the show, uncomfortable. THIS ONE IS WEIRD. I LIKE IT, AND I DON’T KNOW WHY I LIKE IT. BUT THERE IS SOMETHING UNCOMFORTABLE ABOUT IT TOO.
19. The Phantom Confronts Christine
---Nice, a mix of themes previously heard
Disc 2
1. Entr'acte
---Just that, but I love it.
2. Why Does She Love Me?
--A brooding song, quite different from the Webber stock, although in the same vein as his musical foundation for Sunset. Really nice and very well performed.
3. Devil Take The Hindmost
---Brilliant, brilliant...all I can say is 'Javert and Valjean's dialogue at Fantine's deathbed'...as powerful and as sublime. I AM CURRENTLY LISTENING TO THIS. . . I AGREE
4. Heaven By The Sea (Reprise)
---well..it is there...this being a not so great song and rather flat in its texture, i would have preferred another song to fill this slot instead of a rehash , almost feels as if Webber did not have enough time to come up with much musical vartiety and stuck to a couple of musical themes.
5. Ladies...Gents! / The Coney Island Waltz (Reprise)
---More of the same...I must admit I was bored by this point in the plot....
6. Bathing Beauty
---cute, very much a Webber song, catchy. BTW THIS IS A SONG THAT IS PERFORMED BY MEG AND IT IS A STRIP TEASE TYPE OF SONG WITH THE GIRLS HOLDING UP TOWEL AROUND MEG AND WHEN THEY TAKE THEM AWAY, SHE IS WEARING A DIFFERENT BATHING SUIT EACH TIME. VERY CLASSIC VAUDEVILLIAN (SP?)
7. "Mother, Did You Watch?"
---Incidental, no new musical themes, just the same: mix and match. Still effective.
8. Before The Performance
Lovely, if because of the reprise of till I hear you sing. No new musical themes, again, reprises put together. THERE IS A GREAT REPRISAL OF "TWISTED EVERY WAY" FROM THE ORIGINAL WHICH ADDS SOME REALLY GREAT TENSION TO THIS EXTREMELY PIVIOTAL MOMENT COMING UP.
9. Devil Take The Hindmost
---A reprise but with a lot of pressure in it, a critical point in the plot, quite effective, really nice.
10. Love Never Dies
---This one is not new to us, heard it in the beautiful game and heard it by dame Kiri, yet it works well here, after all it was conceived years ago for this show. Sierra B has a wonderful voice, but the high notes are a push in her range, we can still say it is a breathless performance, a thousand times better than Katerine Jenkins and her catastrophic attempt at this song.
11. "Ah, Christine!..."
---more of the same,nice mix of earlier themes. THERE IS A REALLY NICE REMINISCINCE OF “LITTLE LOTTE”
12. "Gustave! Gustave!..."
---As above, more incidental music and earlier musical themes intertwined.
13. "Please Miss Giry, I want to go back..."
---climatic yet melodic-less ending. The final musical theme reprises the aeria and remind me of the very ending of Superstar, John Nineteen Forty-One. Maybe too weak for an ending (for this show)
So, do I like it? yes, overall a great musical that deserves many years on stage. I wish it had more original numbers and less reprises and that it did not have 'the beauty underneath' but hey, overall, a different show, this is not the phantom times 2, this is its own original show, with it's own personality. This show contains some of Webber's best ballads and melodies. Does it copy from his previous musical stock? yes, there is lots of Aspects of love, Woman in white and some Whistle down the wind...is it bad? well if we assume absolute originality as the definition of creativity, Sondheim has not been creative since Company, so there...."
I have been reading several reviews both from America and across the Pond. It is very interesting to read all of the varying points of view. I suppose that the debate is similar to that over the movie version of "Phantom". Some people hated it, some loved it. Ultimately it comes down to a matter of opinion.
As a die hard, long lived Phantom Phan, all I can really say is this:
Andrew Lloyd Webber has a masterful understanding of the great marriage of romance and music. I first listened to the original "Phantom" when I was 12 years old. It had a tremendous effect on me and my perceptions of love, relationships, good and evil. As I have grown, so have my perceptions. For those of you who don't know, I have written a lot of Phantom Phiction on my Story_Seeker site listed on my Facebook page. I have explored the story in different ways, the most interesting and rewarding being from the perspective of Raoul. I have also read Susan Kay's novel "Phantom" which tells the story from his birth to past his death. It switches perspectives, begining with Erik's mother, the infamous "Persian", Erik himself, Christine, and finally ending with Raoul. It is one of the most insightful books about human nature I have ever read. I cannot reccomend it highly enough. Coming back to ALW. Though I am very disappointed with several plot points and I know how to end it in a far more satisfying way (many Phans would heartily approve of MY ending I am sure;-) this is just one possible "ending" to this story. Some of the music and the story is quite lovely and completely transports one back to their "first time" listening to the original. The searing romance and passion are still there. The haunting beauty and the feeling that much of life is sorrow and suffering. If you "look with your heart, and not with your eyes" (or ears in this case;-) I believe that you can find the beauty that cannot be denied. The story of the Phantom of the Opera is tragic, romantic, beautiful, and passionate. It tells a very deeply human story that somehow manages to reach into many hearts and reminds us all of the "Music of the Night".
Christine:
Love's a curious thing
It often comes disguised
Look at love the wrong way
It goes unrecognized
So look with your heart
And not with your eyes
The heart understands
The heart never lies
You need what it feels
And trust what it shows
Look with your heart
The heart always knows
Love is not always beautiful
Not at the start
So open your arms
And close your eyes tight
Look with your heart
And when it finds love
Your heart will be right
Learn from someone who knows
Make sure you don't forget
Love will misunderstand
Is love that you'll regret
Gustave:
Mother
Look with your heart
And not with your eyes
The heart can't be fooled
Christine: The heart is too wise
Gustave: Forget what you think
Christine: Ignore what you hear
Christine and Gustave: Look with you heart
It always sees clear
Gustave: Love is not always beautiful
Not at the start
Christine: But open your arms
And close your eyes tight
Look with your heart
And when it finds love
Your heart will be right
I spent quite some time debating with myself as to whether or not to bother with the musical “Sequel” that Andrew Lloyd Webber finally wrote as a follow up to “The Phantom of the Opera”. The first time I even heard of the idea was when I was watching his 50th Birthday celebration at the Albert Hall. He announced the song as one he hoped to be featured in what he planned to be the official sequel to “Phantom”. The song was called “The Heart is Slow to Learn”. It was lovely. This song has had a very long journey, as described by ALW before the Libretto for the long-awaited sequel, now entitled “Love Never Dies” featuring this lovely melody reworded for the new story.
When I heard that it was finally being put into production, I couldn’t picture it. . . Or hear it! I thought that Coney Island was the strangest place for the story to continue. Every time I told people this, they didn’t believe it either.
My first thoughts were: “I don’t want to listen to it. I don’t want to know the story. I will never listen to the original in the same way.” Ultimately, I realized that every time I read (or wrote!) a different “possible” ending to the story, I listened to the original differently. “The Phantom of the Opera” has changed with me, as I have grown up in these past 16 years. I knew that it was pointless. I gave in, and purchased the original recording of “Love Never Dies” when it was released on the same day that the show premiered in London.
It wasn’t until Bright week of 2010 that I finally listened to it. All of it. Word by word. Note by note. I was prepared to hate it. After reading some info on Coney Island (the first amusement park in the world) it finally hit me: This setting makes perfect sense! What is interesting about this recording is that, not only does it contain all spoken as well as sung lines, but sound effects as well as music. It is set up very similarly to the original.
This is a review of he recording on Amazon.com. He also saw the show. I agree with most of what he says. MY THOUGHTS ARE CAPITALIZED ;-)
“Let me start by saying that the story is not as strong as the original, none of the Gothic gore implied by The Phantom, this is a more human one. The phantom is not below anymore, but towers above, in a penthouse overlooking Coney Island. He can now 'walk amongst man' another freak in a permanent freak show. Hence, the phantom we meet here is less mysterious, his torment more complex, not just obsession, but vulnerability. The story falters at times, I must admit it, yet the show is beautifully done and manages to move you and close the chapter.
The music
1. Prologue
2. The Coney Island Waltz
3. That's the place that you ruined, you fool!
---A terrible opening for a show, akin to the dreadful opening to the woman in white (a show that should not have existed and has been mercifully musically remade into Love never dies). The saving grace is the Waltz and its marvelous projections (on the show) a lovely piece, truly pure Webber. That's the place you ruined, fool and prologue could go amiss and no one will notice.
4. Heaven By The Sea
---- nice song, a touch out of place with the darker more romantic music, but attempting to capture the banality and lightheartedness of the time and the society in NY at the time. It serves its purpose, the core musical theme being lifted mainly from a repetitive melodic phrase used to death in woman in white, still, nice.
5. Only For Him / Only For You
-----A nice song with a less forthcoming orchestration, lovely melodic tilt, intended to show Meg's love for the Phantom. It appears Webber tried to make a clear distinction between the deep love the phantom has for Christine with the 'cheap' and brassy tolerance he shows Meg, one (Christine's) is for sustenance, the other (Meg) is for survival. I like this song, maybe the distinction marked by the styles is rather too wide, making it two dimensional and one sided (leaning towards Christine)It achieves that.
6. The Aerie
----A lovely, haunting, beautiful instrumental, right from the bowels of the Phantom of the opera. Thick, serene, moving. I DO NOT CARE FOR IT. THIS IS A TYPICAL ALW MIX OF BEAUTY AND DISSONANCE, WHICH I USUALLY CAN’T STAND ;-)
7. Til I Hear You Sing
---Now we are talking, this is a magnificent song, a true descendant from the original Phantom. A pure display of the best Lloyd Webber can produce. Ramin is absolutely brilliant in it, This song makes the whole show worth it, really.” I ABSOULUTELY AGREE! THIS IS AN INCREDIBLE SONG TRULY WORTHY OF THE ORIGINAL
8. Giry Confronts The Phantom / 'Til I Hear You Sing
---A nice excuse for listening to Ramin again. Giry's bit is typical of the sung through melodic style in Phantom. Very well done by Giry.
9. Christine Disembarks
---mostly spoken, snippets of melodies in the background, mainly themes that will develop later
10. Arrival Of The Trio / Are You Ready To Begin?
I don't care for the three new characters..the Phantom's henchman. Their a-melodic and tense musical themes grind me, not good voices, neither great lyrics, they just add to the oddness that is the phantom, but are never developed enough to matter or to add any depth to the phantom, They are cliches that fill in space. I wish a judge would give Webber a court restraining order so he cannot get near electric guitars, he seems to think that by using them he is 'edgy', wrong! Lovely melodic bit at the end for Gustave, again, lots from woman in white.
11. What A Dreadful Town!...
---I like this song. A lovely string punctuation quite different from Webber's style. Mature, efficient.
12. Look With Your Heart
---Beautiful waltz, sweet, with surprising melodic changes that slide into one another. Fresh and tender.
13. Beneath A Moonless Sky
--This is the heavy bit! the first few notes and chords are straight from the beginning of the song 'the phantom of the opera', as the phantom enters Christine's room and sees her for the first time in ten years. Although the refrain in this song will remind you of the cell block tango from Chicago (I mean it) it is a powerful, beautiful ballad (kind of a tango as well) here we get the whole story of what happened in the last ten years, a bit of a rush, but such a powerful song, the phantom has entered the room...really a triumph. THIS SONG IS VERY RECOGNIZABLE IF ONE HAS SEEN THE MOVIE AS MANY TIMES AS I. ALW USED THE ORCHESTRATIONS THAT HE WROTE FOR THE “JOURNEY TO THE CEMETARY” AND PUT WORDS TO IT. I WAS DELIGHTED BY THIS AS I LOVED THAT PIECE WHEN I FIRST HEAR IT IN THE FILM.
14. Once Upon Another Time
---Less of a song than above, but still sweet and lovely with a great melodic surge, dense with meaning and very much an aria in the opera style.
15. "Mother Please, I'm Scared!"
--Incidental stuff, the phantom meets Gustav...we get the electric guitar...bearable...it works, just enough, the right balance.
16. Dear Old Friend
---Great song a la notes in Phantom. cleverly worded, with touches of the original show and to great effect. It does have the same rhythmic style as Prima Donna , and the scene calls for it, as Meg is a Prima Donna in her work at Coney and Christine is a Prima Donna in her own right, with the trick from 'notes' of shifting between conversations. I LOVE “NOTES” IN THE ORIGINAL. SOMEHOW WHEN IT IS SEVERAL CONVERSATIONS GOING ON TOGETHER AND BEING SUNG. . . IT JUST WORKS.
17. Beautiful
---Haunting, sweet melody for Gustave.
18. The Beauty Underneath
---Loved by some, hated by almost every single soul that saw the show when I saw it. Too much guitar, too far off the musical style for the show, too modern. Honestly, I hated at the moment. One can imagine Elton John playing a set with AC/DC...it has its moments and many will like it...I found it a low point in the show, uncomfortable. THIS ONE IS WEIRD. I LIKE IT, AND I DON’T KNOW WHY I LIKE IT. BUT THERE IS SOMETHING UNCOMFORTABLE ABOUT IT TOO.
19. The Phantom Confronts Christine
---Nice, a mix of themes previously heard
Disc 2
1. Entr'acte
---Just that, but I love it.
2. Why Does She Love Me?
--A brooding song, quite different from the Webber stock, although in the same vein as his musical foundation for Sunset. Really nice and very well performed.
3. Devil Take The Hindmost
---Brilliant, brilliant...all I can say is 'Javert and Valjean's dialogue at Fantine's deathbed'...as powerful and as sublime. I AM CURRENTLY LISTENING TO THIS. . . I AGREE
4. Heaven By The Sea (Reprise)
---well..it is there...this being a not so great song and rather flat in its texture, i would have preferred another song to fill this slot instead of a rehash , almost feels as if Webber did not have enough time to come up with much musical vartiety and stuck to a couple of musical themes.
5. Ladies...Gents! / The Coney Island Waltz (Reprise)
---More of the same...I must admit I was bored by this point in the plot....
6. Bathing Beauty
---cute, very much a Webber song, catchy. BTW THIS IS A SONG THAT IS PERFORMED BY MEG AND IT IS A STRIP TEASE TYPE OF SONG WITH THE GIRLS HOLDING UP TOWEL AROUND MEG AND WHEN THEY TAKE THEM AWAY, SHE IS WEARING A DIFFERENT BATHING SUIT EACH TIME. VERY CLASSIC VAUDEVILLIAN (SP?)
7. "Mother, Did You Watch?"
---Incidental, no new musical themes, just the same: mix and match. Still effective.
8. Before The Performance
Lovely, if because of the reprise of till I hear you sing. No new musical themes, again, reprises put together. THERE IS A GREAT REPRISAL OF "TWISTED EVERY WAY" FROM THE ORIGINAL WHICH ADDS SOME REALLY GREAT TENSION TO THIS EXTREMELY PIVIOTAL MOMENT COMING UP.
9. Devil Take The Hindmost
---A reprise but with a lot of pressure in it, a critical point in the plot, quite effective, really nice.
10. Love Never Dies
---This one is not new to us, heard it in the beautiful game and heard it by dame Kiri, yet it works well here, after all it was conceived years ago for this show. Sierra B has a wonderful voice, but the high notes are a push in her range, we can still say it is a breathless performance, a thousand times better than Katerine Jenkins and her catastrophic attempt at this song.
11. "Ah, Christine!..."
---more of the same,nice mix of earlier themes. THERE IS A REALLY NICE REMINISCINCE OF “LITTLE LOTTE”
12. "Gustave! Gustave!..."
---As above, more incidental music and earlier musical themes intertwined.
13. "Please Miss Giry, I want to go back..."
---climatic yet melodic-less ending. The final musical theme reprises the aeria and remind me of the very ending of Superstar, John Nineteen Forty-One. Maybe too weak for an ending (for this show)
So, do I like it? yes, overall a great musical that deserves many years on stage. I wish it had more original numbers and less reprises and that it did not have 'the beauty underneath' but hey, overall, a different show, this is not the phantom times 2, this is its own original show, with it's own personality. This show contains some of Webber's best ballads and melodies. Does it copy from his previous musical stock? yes, there is lots of Aspects of love, Woman in white and some Whistle down the wind...is it bad? well if we assume absolute originality as the definition of creativity, Sondheim has not been creative since Company, so there...."
I have been reading several reviews both from America and across the Pond. It is very interesting to read all of the varying points of view. I suppose that the debate is similar to that over the movie version of "Phantom". Some people hated it, some loved it. Ultimately it comes down to a matter of opinion.
As a die hard, long lived Phantom Phan, all I can really say is this:
Andrew Lloyd Webber has a masterful understanding of the great marriage of romance and music. I first listened to the original "Phantom" when I was 12 years old. It had a tremendous effect on me and my perceptions of love, relationships, good and evil. As I have grown, so have my perceptions. For those of you who don't know, I have written a lot of Phantom Phiction on my Story_Seeker site listed on my Facebook page. I have explored the story in different ways, the most interesting and rewarding being from the perspective of Raoul. I have also read Susan Kay's novel "Phantom" which tells the story from his birth to past his death. It switches perspectives, begining with Erik's mother, the infamous "Persian", Erik himself, Christine, and finally ending with Raoul. It is one of the most insightful books about human nature I have ever read. I cannot reccomend it highly enough. Coming back to ALW. Though I am very disappointed with several plot points and I know how to end it in a far more satisfying way (many Phans would heartily approve of MY ending I am sure;-) this is just one possible "ending" to this story. Some of the music and the story is quite lovely and completely transports one back to their "first time" listening to the original. The searing romance and passion are still there. The haunting beauty and the feeling that much of life is sorrow and suffering. If you "look with your heart, and not with your eyes" (or ears in this case;-) I believe that you can find the beauty that cannot be denied. The story of the Phantom of the Opera is tragic, romantic, beautiful, and passionate. It tells a very deeply human story that somehow manages to reach into many hearts and reminds us all of the "Music of the Night".
Christine:
Love's a curious thing
It often comes disguised
Look at love the wrong way
It goes unrecognized
So look with your heart
And not with your eyes
The heart understands
The heart never lies
You need what it feels
And trust what it shows
Look with your heart
The heart always knows
Love is not always beautiful
Not at the start
So open your arms
And close your eyes tight
Look with your heart
And when it finds love
Your heart will be right
Learn from someone who knows
Make sure you don't forget
Love will misunderstand
Is love that you'll regret
Gustave:
Mother
Look with your heart
And not with your eyes
The heart can't be fooled
Christine: The heart is too wise
Gustave: Forget what you think
Christine: Ignore what you hear
Christine and Gustave: Look with you heart
It always sees clear
Gustave: Love is not always beautiful
Not at the start
Christine: But open your arms
And close your eyes tight
Look with your heart
And when it finds love
Your heart will be right
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