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Phantom of the Opera
     

The Phantom of the Opera

5.0 4
 

Product Details

Release Date:
11/26/2002
Label:
Decca Broadway
UPC:
0042284768924
catalogNumber:
847689
Rank:
52596

Related Subjects

Tracks

  1. Prologue: The Stage of the Paris Opera House, 1911
  2. Overture
  3. The Dress Rehearsal of Hannibal
  4. Think of Me
  5. The Mirror... (Angel of Music)
  6. The Phantom of the Opera
  7. The Music of the Night
  8. Notes/Prima Donna
  9. All I Ask of You
  10. I Gave You My Music...
  11. Entr'acte
  12. Masquerade
  13. The Graveyard
  14. Wishing You Were Somehow Here Again
  15. Wandering Child... / Bravo, Monsieur...
  16. The Point of No Return / Down Once More
  17. The Phantom's Lair

Album Credits

Performance Credits

Moe Koffman   Conductor
David Rogers   Vocals
Dick Armin   Cello
Michael Fletcher   Vocals
Rick Fox   Keyboards
Gerard Kantarjian   Violin,Concert Master
Charlotte Moon   Harp
Marty Morell   Percussion
John Price   Clarinet,Flute
Mark Wells   Violin
Ernie Pattison   Bass Trombone
Elise Dunlop   Violin
Agnes Roberts   Violin
Nicole Zarry   Violin
Colm Wilkinson   Vocals
Tim Anderson   Vocals
Norman Hathaway   Violin
Jeffrey Huard   Conductor
George Meanwell   Cello
Cynthia Steljes   English Horn,Oboe
Clare Scholtz   English Horn,French Horn,Oboe
Bob Venables   Trumpet
Artur Jansons   Viola
Barbara Smith   Vocals,Choir, Chorus
Claudio Vena   Viola
Norman Roberts   Vocals
Glenda Balkan   Vocals
Mary Anne Barcellona   Vocals
Suzanne Brown   Vocals,Choir, Chorus
Susan Burk   Vocals,Choir, Chorus
Neve Campbell   Vocals,Choir, Chorus
Rod Campbell   Vocals
Peter Cormican   Vocals
Gregory Cross   Vocals
June Crowley   Vocals
Devin Dalton   Vocals
Julie Whittaker Dus   Vocals
Dewi Fairclough   Vocals
Holley Frances Farmer   Vocals,Choir, Chorus
Paul Gatchell   Vocals
Lyse Guérin   Vocals
Kristina Marie Guiguet   Vocals
Gail Hakala   Vocals
Gretchen Helbig   Vocals
Steven Henrikson   Vocals
Donna Kelly   Vocals,Choir, Chorus
Glen Kerr   Vocals
Rhonda Liss   Vocals
Elizabeth Mabee   Vocals
Paul Massell   Vocals
J.P. Michaels   Vocals
Byron Nease   Vocals
Todd Noel   Vocals
Blaine Parker   Vocals
Donna Rubin   Vocals
Gillian Saunders   Vocals
Caroline Schiller   Vocals
Susan Sereda   Vocals
Barry Stilwell   Vocals
Robert Miskey   Violin
Valerie Rigg   Violin
Elizabeth Johnston   Violin
Elizabeth MacMillan   Violin
Ellen Moore   Violin
Larry Toman   Viola
Gisela Depkat   Cello
Luc Michaud   Bass
William Cannaway   Bassoon
Robert DiVito   Trumpet
Lawrence Vine   French Horn
Sylvain Brillon   French Horn
Deborah Stroh   French Horn
John Mele   Percussion
Melody McShane   Keyboards
Martin Bazarian   Violin
Arne Tamissar   Violin
Jared Erhardt   Violin
Rhyll Peel   Violin,Viola
John Trembath   Cello
Raymond Radkowski   Bass
Rebecca Caine   Vocals
Maria Pelletier   Flute,Piccolo
Fred Osachoff   Clarinet,Bass Clarinet,E-flat Clarinet
Susan Cuthbert   Vocals

Technical Credits

Andrew Lloyd Webber   Orchestration,Book,Music Administrator
Mike Batt   Composer
David Rogers   Contributor
David Caddick   Producer
David Cullen   Orchestration,Book
Michael Fletcher   Contributor
Charles Hart   Lyricist,Liner Notes
Martin Levan   Producer,Engineer
Richard Stilgoe   Composer,Lyricist
Harold Prince   Director
Colm Wilkinson   Contributor,Cover Art
Jeffrey Huard   Musical Director
Scott Thornley   Artwork
Norman Roberts   Contributor
Glenda Balkan   Contributor
Mary Anne Barcellona   Contributor
Barry Burns   Stage Manager
Rod Campbell   Contributor
Peter Cormican   Contributor
Gregory Cross   Contributor
Stephen Crouch   Stage Manager
June Crowley   Contributor
Devin Dalton   Contributor
Julie Whittaker Dus   Contributor
Dewi Fairclough   Contributor
Paul Gatchell   Contributor
Lyse Guérin   Contributor
Kristina Marie Guiguet   Contributor
Gail Hakala   Contributor
Gretchen Helbig   Contributor
Steven Henrikson   Contributor
Roman Humeniuk   Stage Manager
Glen Kerr   Contributor
Rhonda Liss   Contributor
Elizabeth Mabee   Contributor
J.P. Michaels   Contributor
Byron Nease   Contributor
Todd Noel   Contributor
Blaine Parker   Contributor
Darragh J. Parsons   Stage Manager
Ian Pool   Production Director
Donna Rubin   Contributor
Gillian Saunders   Contributor
Caroline Schiller   Contributor
Susan Sereda   Contributor
Barry Stilwell   Contributor
Pat Thomas   Production Stage Manager
Rebecca Caine   Contributor,Cover Art
Susan Cuthbert   Contributor

Customer Reviews

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The Phantom of the Opera 5 out of 5 based on 0 ratings. 4 reviews.
Guest More than 1 year ago
I’ve always LIKED Phantom rather as I like Cats. I felt it had some good songs and was a great show to attend, but I didn’t really want to sit and listen to it over and over. I’ve had the Original Cast Recording for 15 years and I doubt I’ve listened to it as many times. Maybe, I thought, the event really was the spectacle. The shows that I’m really passionate about (Les Miserables, Jesus Christ Superstar, Camelot) have characters that I can care deeply for. Before I get mugged by the army of “Phans”, let me confess that I’ve found that passion – here with the amazing Canadian Cast (which really means Rebecca Caine and Colm Wilkinson). I didn’t suspect that the ‘definitive’ recording was the reason I thought POTO a tad overrated. After all ALW wrote it to showcase Sarah Brightman (and I personally don’t have a problem with her) and Michael Crawford has a fine voice. I just felt no emotional attachment to anyone. It felt like watching a cartoon – no depth. When I found out that Wilkinson actually developed the role in workshop with the composer, was ALW’s first choice to play the part (but was already committed to Les Mis), and is the one performing “Music of the Night” on most of the “Best of Broadway”-type albums, I decided to give POTO another chance. All I can say is “WOW, so THAT’S what it’s all about”. Crawford’s voice may be more lyrical and technically perfect, but Wilkinson’s is far more powerful and expressive. It just grabs your heart. Erik is such a complex character, a boiling mixture of tender love, jealousy, generosity, possessiveness, rage, genius, hurt and self-loathing. With every note you know exactly what Colm’s Erik is feeling at that moment, and it always rings true emotionally. Unless you feel his deep hurt, you can’t sympathize with what it drives him to do. The point of the story is that Erik "had a heart that could have held the empire of the world.. but in the end, he had to content himself with a cellar”. Here is a Phantom that makes you believe that. “Music of the Night” is enthralling, “Point of No Return” captivating and the ending so poignant. Rebecca Caine has a lovely, clear voice and appears to effortlessly hit every note, a real joy to listen to. She is very believable both as a classically-trained singer and as an innocent who has some genuine affection for Erik as a mentor and father substitute. Byron Nease is pretty stiff as Raoul, but are we really supposed to care much about him anyway? I’ve only had this album for a month, but I’ve already played it far more than 15 times. I love it – a must have!
Guest More than 1 year ago
All of the verision of the Phantom of the Opera are great.
Guest More than 1 year ago
This CD was my first introduction to the musical and to the FULL story for that matter! The only reason I bought this version instead of the Original London Cast was because I could afford to buy this version (at the time) and I haven't regreded buying this CD! Colm Wilkinson has a great voice for the stage and he was a great fit for the role of the phantom (even though I know several people who disagree with me) he hit the high notes and held them longer than I can hold my breath (I know that must seem a little pathetic)! Rebbeca Caine (Christine) has a crystal clear voice and she did a great job with both Colm (the Phantom) and Byron (Raoul) she did a great job! Byron Nease was an interesting choice for Raoul seeing that he sounds a little too heroic, don't get me wrong... he was great and I am always going to be the type of person who gives credit where credit is due! In the end this was my first incounter with these classic characters and their story and I thank them for doing such a wonderful job (THANK YOU SO MUCH)! P.S. The only thing that made me a little uneasy was the lack of emotion (after seeing the movie four times it's hard to match that kind of emotion), although I suppose that stage versions can't really afford too much emotion otherwise no one can hear them or understand them so I'm fine with the movie and the stage version!!!
Anonymous More than 1 year ago