The Monster owns geniality, the one that leads you towards the sublime creation from which it's not possible to come back alive; the powerful act of creating goes over the mental capacity of containing so high revelations. The monster knows, realises, perceives by intuition and has a clear vision of his destiny from the beginning, he's a Titan with a human body who can't bear physically and psychically the product of his geniality. The monster is alone, he can't receive comprehensions and sympathy and this leads to loneliness, abandonment, desperation and death.
The Monster is unique in many artistic forms and especially in the most ethereal and esoteric one, MUSIC.
The Monster knows that when his masterpiece sonata will be completed he will vanish because life is not worthy if it's not possible to let flow outside the Spirit of Music. Erik, the Phantom, The Monster is a deep owner of sensitivity and creativity, he lives in an underground little island inside an artificial lake under the vaults of the Opera Theatre of Paris; this building has a twofold connotation, architectural rationality on one side and twisting, labyrinthic perspectives on the other; so we meet double-meanings, tunnels, corridors, doors opening on other doors and mirrors hiding faces wearing masks.
Erik is afraid, afraid of the world, of people, of himself, he can't show himself, express his feelings without metaphors, desguisements, farces.
Erik needs a beautiful figure to identify music with and he finds Christine, a young, shy, danish lyric singer externally pleasant but too human, common.
Erik needs love and offers her the most precious gift, MUSIC. After that Christine Daee becomes a shining, brilliant singer, a star of the Opera. But Erik is a sort of Faust whose world is based on fiction, conjuring tricks, childish fantasies in a lush environment of killing syrens, oriental palaces, sensuous perceptions and suggestive visions, he can't receive love from human beings, he can't receive love from Christine without desguising, acting, hiding. For love he becomes the voice of an astonishlingly moving violin, the fury of a persecutor, the devoted lover, the nerver-ending pain the burning suspect...
Christine can't love him, Erik's rage grows till the kidnapping occurs and the two unlucky lovers disappear in the vaults of the Opera.
Love is not possible, neither the fiction of it and rapid is the end of Erik, brief and dignified his departure, the end of the Monster's loves, hopes, ambiguous appearance...
Erik is now a gossip on the Opera dancers' lips, a frightening whisper in the mouth of the theatre lyric singers, a folksy legend.
The Phantom leaves us with a deep acquired wisdom abandoning all the ingenious inventions and day-dreams; he dies with or without a mask (it doesn't matter) because he's the faceless man, the erased essence who returns to earth disintegrating his psychic substance.
"Il Fantasma dell'Opera" is dedicated to all of you who feel the "pain of living " like we do in a continuous up and down of absolute creativity and harsh tension to the end, departure, dissolution, evaporation, extinction.
Be praised our unconditional love for music !
In Memory of Erik, our Monster and Phantom of the Opera.
A SOUNDTRACK FOR A TRAGEDY : operistik-orchestral scores, lyric solos, imponent choirs and fuga, classic sonatas, white-icy ethereal airs, impetuous crescendo, Baroque and neoclassic tunes.