Free download hannibal poster phantom of the opera

But like Han- nibal, both music and staging appear to be more of a parody of opera than opera itself. Now parody, in post-modern society, is a very difficult concept to discuss. I have to say that I never really know when Sir Andrew is being ironic. That is to say, I do not know for certain when either the content or the context is really intended to frame markers read as ironic. But it seems far-fetched to me to think that Hannibal and Il Muto are really late 20th-century evocations on the level of critical metareference, or ironic parody of lateth century interpretations on the level of non- critical metareference, or homage of late 18th and early 19th-century musical styles.

This form of metareference is by no means restricted to music and we could easily imagine similar situations in other arts and media. If we could be sure that the intent was ironic, it would probably qualify as critical meta- reference. But then, as I already said, I never know when Sir Andrew is being ironic. If there is homage in any sense here, it can easily wind up mocking and destroying the thing it reverences, despite its best metareferential intentions.

In this sense, the film version of Phantom if not indeed the staged musical, under cer- tain circumstances may be felt to indulge in satire making fun of social norms and the culture surrounding opera as well as parody which makes fun of the genre itself In the actual theater there are similarly no doubt tens of thousands of patrons who have seen Phan- tom and have believed that in Hannibal and Il Muto they are hearing and seeing performed parts of actual operas by real composers.

When one considers that metareferences to opera in Phantom are read by many theatergoers as references originating in actual operas, then we might think about Roland Barthes and would like to tell him that not only is the author indeed dead, but that his place is being usurped by impostors who never existed!

A fictitious opera by a composer who never existed — this brings me to the third of the pastiches, that of Don Juan Triumphant by Erik the Phantom himself.

While I think the actual situation is far more complex, this just reinforces the supposition stated in the next sentence of my article. I will play you Mozart, if you like, for which you will weep beautiful tears and be filled with virtuous thoughts. But, believe me, Christine, my Don Juan burns, and yet he is not struck down by a bolt from heaven! She loves me for- ever! I am kind of Don Juan, you know … Look at me! I am Don Juan Triumphant!

If so, this places the action of the novel not earlier than the second half of the s, which is later than most adaptations assume. Moi, je suis un type dans le genre de Don Juan…Regarde- moi!

Je suis Don Juan triomphant! What I heard now had no relationship to what I had enjoyed hearing up till then. His Don Juan Triumphant […] seemed to me at first one long, awful, magnificent sob into which Erik had poured all his cursed wretchedness. In the musical, Erik uses Don Juan Triumphant to arrange the murder of Piangi, whose place and role as Don Juan he literally takes on the stage, and effects the abduction of Christine after she has un- masked him.

However, as details about the storyline and music of Don Juan Triumphant are nonexistent since it is not, after all, an opera but only a reference to a kind of dramatic symphony, and a virtual one at that , Richard Stilgoe — I presume — was faced with constructing a fragment of plot about Don Juan which would somehow make up for the de- leted Prison scene from Faust.

In the musical then, Don Juan played by Signor Piangi and his servant Passarino are planning the seduction of Aminta played by Christine This involves the old trope of the master and servant switching clothes. Meg Giry even plays a village girl he is just paying off after a liaison at the moment he appears on stage. Previous to this in the musical though not in the film is a scene Act 2, Scene 4 of a rehearsal for Don Juan in which Piangi, Carlotta, Christine and the chorus are all trying to learn the difficult musical score In the process, aspects of parody emerge at different levels, with different metareferential results, ending either in a suc- cessful enhancement of aesthetic illusion, or in a distinct failure the- reof.

It is also possible for such end-users to lack a highly developed meta-awareness and still perceive via metareference some sort of parody and via parody, some sort of metareference , though of a different level and order than more informed people. Parody, however, is an extremely volatile com- pound. This in turn creates a kind of unintentional, destruc- tive form of parody which I call uncritical metareference.

Seen from this point of view, the pastiche operas of The Phantom of the Opera suffer from this tendency for the genie of Parody to be capricious on escaping from its bottle or frame , and to turn on its creator in unpre- dictable ways. Herbert Van Thal, ed. Fanfare for Ernest Newman. London: Arthur Barker. Davies, Robertson The Lyre of Orpheus. London: Viking. Flynn, John L.

Grover-Friedlander, Michal Hoffmann, E. Munich: Winkler. Huckvale, David Tambling, ed. Hutcheon, Linda New York, NY: Methuen. Joe, Jeongwon Between Opera and Cinema. New York, NY: Routledge. Leroux, Gaston The Phantom of the Opera. John L. Meyers, Cathleen online. Perry, George C. The Complete Phantom of the Opera. Schumacher, Joel, dir. Joel Schumacher, dir. Bonus features. Snelson, John Andrew Lloyd Webber.

The Megamusical. Tambling, Jeremy a. Tamb- ling, ed. A Night in at the Opera. Ramin Karimloo who had been playing Raoul in the London production of Phantom at the time of filming appeared in a cameo role as Christine's father. For example, Warner Bros. You can share this sheet on your Twitter or Facebook account to let your friends know too!

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