Organization

Set designer

Federico Bellone

Singer

Bass

Ramin Karimloo

Erik

Soprano

Amelia Milo

Christine Daaé

Alice Mistroni

Madame Giry

Zoe Nochi

Meg Giry

Ian Mowat

Firmin Richard

Anna Corvino

Carlotta

Conductor

Julio Awad

Stage director

Choreographer

Gillian Elizabeth Bruce

Lighting designer

Valerio Tiberi

Sound designer

Roc Mateu

Musical Supervisor

Giovanni Maria Lori

Earl Carpenter

Monsieur André

Gian Luca Pasolini

Ubaldo Piangi

Matt Bond

Buquet

Reyer

Jeremy Rose

Lefevre

Don Attilio

Opéra de Monte-Carlo

Orchestra

Orchestre Philharmonique de Monte-Carlo

Vinny Coyle

Vicomte Raoul de Chagny

Assistant Lighting Designer

Emanuele Agliati

Costume designer

Chiara Donato

Wig & Makeup Designer

Assistant choreographer

Marta Melchiorre

angļu

The Phantom of the Opera

Monaco

Salle Garnier

The Phantom of the Opera Lloyd Webber

Public

franču

Approved

If we look at the worldwide success of Andrew Lloyd Webber’s Phantom of the Opera, we might well ask ourselves why this musical, almost an opera, has never been performed in France. After more than 35 triumphant years and 140 million spectators, the time has come to put this right. Whose blood has never run cold when reading when reading Gaston Leroux’s novel and his phantom, madly in love with Christine but who, when scorned, brings the chandelier crashing down on the audi-ence at the Palais Garnier? French readers were the first to develop a passion for this tale full of mystery and dramatic turns of events. Hollywood then undertook to popularise it with many film adaptations. In the early 1980s, Andrew Lloyd Webber began to reflect upon this myth and adapted it for the stage. He wrote the score and the unforgettable songs that demand an extensive vocal range and agility, reminding us of the musical language of opera. The Opéra de Monte-Carlo, the only theatre designed by Charles Garnier, apart from the famous one in Paris where the action takes place, is delighted to host this new pro-duction of Phantom for a run of performances during the holiday season.

English

Si l’on se penche sur le succès mondial du Phantom of the Opera d’Andrew Lloyd Webber,  on est en droit de se demander pourquoi cette comédie musicale, aux confins de l’opéra, n’a jamais connu de véritable production  dans l’Hexagone. Après plus de 35 années triomphales et 140 millions de spectateurs, il était temps de réparer cet oubli. Qui n’a pas frissonné à la lecture du roman de Gaston Leroux, avec son fantôme, éperdu d’amour pour Christine et dont le dépit provoquera la chute du lustre sur les spectateurs de l’Opéra de Paris ? Les lecteurs français ont été les premiers à se passionner pour ce récit, Hollywood se chargera ensuite de le populariser mondialement. Dès le début des années quatre-vingt, Lloyd Webber se penche sur ce mythe et rêve de l’adapter à la scène. Il compose une partition dont les airs inoubliables exigent extension et agilité vocales, rappelant le langage musical propre  à l’art lyrique. L’Opéra de Monte-Carlo, seul théâtre conçu par Charles Garnier en dehors de la salle parisienne où se déroule l’action, est heureux d’être l’écrin d’une série de représentations pour les fêtes de fin d’année.

français

Se si guarda al successo mondiale del Phantom of the Opera di Andrew Lloyd Webber, ci si chiede perché questo musical, molto vicino al genere dell’opera, non abbia mai avuto una vera produzione in Francia o a Montecarlo. Dopo più di 35 anni trionfali e 140 milioni di spettatori, era giunto il momento di rimediare. Chi non ha tremato leggendo il romanzo di Gaston Leroux con il suo fantasma, perso d’amore per Christine e il cui disprezzo provocherà la caduta del lampadario sugli spettatori dell’Opera di Parigi? I lettori francesi sono stati i primi ad appassionarsi a questa storia, Hollywood si occuperà poi di diffonderla in tutto il mondo. All’inizio degli anni ottanta, Lloyd Webber si dedica a questo mito e sogna di adattarlo al palcoscenico. Compone uno spartito le cui arie indimenticabili richiedono estensione e agilità vocale, richiamando il linguaggio musicale proprio dell’arte lirica. L’Opéra de Monte-Carlo, unico teatro progettato da Charles Garnier al di fuori della sala parigina in cui si svolge l’azione, è felice di essere la cornice di una serie di rappresentazioni per le feste di fine anno.

italiano

The Phantom of the Opera by Lloyd Webber, No (2023/2023), Režisēja Federico Bellone,, Diriģents Julio Awad, Salle Garnier, Monaco, Monaco

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