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
Erik is afraid, afraid of the world, of people, of himself,
he can't show himself, express his feelings without metaphors,
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
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