The Phantom of the Opera

( 4 )
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Product Details

  • Release Date: 11/26/2002
  • Label: Decca Broadway
  • UPC: 042284768924
  • Catalog Number: 847689
  • Sales rank: 8,308


Disc 1
  1. 1 Prologue: The Stage of the Paris Opera House, 1911 - Barry Stilwell (0:46)
  2. 2 Overture (2:08)
  3. 3 The Dress Rehearsal of Hannibal - Donna Kelly (1:45)
  4. 4 Think of Me - Rebecca Caine (3:17)
  5. 5 The Mirror... (Angel of Music) - Rebecca Caine (1:34)
  6. 6 The Phantom of the Opera - Rebecca Caine (4:19)
  7. 7 The Music of the Night - Colm Wilkinson (5:50)
  8. 8 Notes/Prima Donna - Byron Nease (9:58)
  9. 9 All I Ask of You - Rebecca Caine (4:01)
  10. 10 I Gave You My Music... - Rebecca Caine (2:35)
  11. 11 Entr'acte (2:24)
  12. 12 Masquerade (5:17)
  13. 13 The Graveyard - Rebecca Caine (1:16)
  14. 14 Wishing You Were Somehow Here Again - Rebecca Caine (3:40)
  15. 15 Wandering Child... / Bravo, Monsieur... - Rebecca Caine (2:34)
  16. 16 The Point of No Return / Down Once More - Rebecca Caine (7:26)
  17. 17 The Phantom's Lair - Rebecca Caine (10:47)
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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
A. L. 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
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Customer Reviews

Average Rating 5
( 4 )
Rating Distribution

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Sort by: Showing all of 4 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Grabs your heart

    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!

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  • Anonymous

    Posted October 1, 2010

    This was my FIRST introduction to the musical!

    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!!!

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  • Anonymous

    Posted October 1, 2010

    This is wonderful

    All of the verision of the Phantom of the Opera are great.

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  • Anonymous

    Posted November 11, 2008

    No text was provided for this review.

Sort by: Showing all of 4 Customer Reviews