The Phantom of the Opera

The story's primary setting is the Paris Opera House, so music is a key motif within the narrative. Music has various functions throughout the text, and one of its uses is foreshadowing. Leroux, an Opera critic in his own lifetime, alludes to many well-known operas whose plots mirror the events of The Phantom of the Opera; therefore, those who recognize these operas will have extra knowledge of where the story's plot is heading and the dynamics between different characters. Some of the main operas that Leroux alludes to include Romeo and Juliette and Othello. These pieces help explain the changing relationship between Christine and Erik. Romeo and Juliette is a classic story about lovers who don't know each other’s identities, which allows them to fall in love without bias. However, when they find out they are from rival families, their relationship becomes complicated and ends in tragedy. In Chapter 2 when the text first references this opera, Christine doesn't know Erik's identity, which allows her to develop a relationship with him as the benevolent Angel of Music. When she uncovers the truth, however, his obsession quickly leads to near-tragedy for her and Raoul. The reference to this opera both describes the nature of their relationship and foreshadows the impending tragedy of the story. Othello is a story of obsessive jealousy, where the titular Othello becomes consumed with the thought that his wife, Desdemona, is in love with another man. Christine likens Erik “Othello himself” (132) while they sing the duet, and she feels “love, jealousy, hatred burst out around [them] in harrowing cries” (132). This piece elaborates on the extent of Erik’s jealousy for Raoul as well as the conflicting emotions of love and hate within Christine and Erik’s relationship.

The one opera that appears consistently throughout the text is Faust, and particularly the lead female role of Margarita. In this opera, Faust makes a deal with the devil for eternal youth, and he seduces the innocent and beautiful Margarita using the devil's abilities. Margarita doesn't know Faust's identity, and the lines of her wondering are repeated within the text: “I wish I could know who was he / That addressed me, / If he was noble, or, at least, what his name is…” (83). Erik wants Christine to play this leading role of Margarita both to showcase her talents and to hear her sing these words to him. Christine vanishes onstage while singing "Holy Angel, in Heaven blessed [...] My spirit longs with thee to rest!" (146) from Faust, which hints to Raoul that Erik—Christine's Angel of Music—has taken her away again. Faust is another tragedy, but in the story, Margarita ultimately ascends to heaven, indicating that Christine will have a happy ending despite her misfortunes.

Music also functions for the characters as a vehicle for passionate emotions. Erik's self-composed Don Juan Triumphant is an example of this use for music, as he channels his life's tragedy into the composition. He describes his composition as “so terrible” (132) as the horrid and unpleasant sounds speak the pain of his life that he cannot find the words for. Erik uses this music as a refuge when Christine reveals his true appearance, showing how music also provides comfort. Music also comforts Christine and Mamma Valérius, who connect singing and violin to the happy times when Christine's father was alive. Christine and Erik's relationship is based on a shared love for music, and Erik's heavenly voice has the power to both sooth Christine and put her in a state of ecstasy. The passion of this music compels Christine to continue meeting with Erik against her better judgement. In this way, music also connects to the theme of passion and frenzy.