Prologue-The Stage of the Paris Opera, 1911
AUCTIONEER:
Sold. Your number, sir? Thank you. Lot 663, then, ladies and gentlemen:
a poster for this house's production of "Hannibal" by Chalumeau.
PORTER:
Showing here.
AUCTIONEER:
Do I have ten francs? Five then. Five I am bid. Six, seven. Against you, sir, seven.
Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny.
Lot 664: a wooden pistol and three human skulls
from the 1831 production of "Robert le Diable" by Meyerbeer. T en francs for this. Ten, thank you.
Ten francs still. Fifteen, thank you, sir Fifteen I am bid. Going at fifteen. Your number, sir?
665, ladies and gentlemen:
a papier-mache musical box, in the shape of a barrel-organ. Attached, the figure of a monkey in Persian robes playing the cymbals. This item, discovered in the vaults of the theatre, still in working order.
PORTER:
Showing here.
AUCTIONEER:
May I start at twenty francs? Fifteen, then?
Fifteen I am bid. Sold, for thirty francs to the Vicomte de Chagny. Thank you, sir.
RAOUL:
A collector's piece indeed . . . every detail exactly as she said . . .
She often spoke of you, my friend ....Your velvet lining, and your figurine
Will you still play, when all the rest of us are dead?
AUCTIONEER:
Lot 666, then: a chandelier in pieces.
Some of you may recall the strange affair of the Phantom of the Opera: a mystery never fully explained.
We are told, ladies and gentlemen,
that this is the very chandelier which figures in the famous disaster.
Our workshops have repaired it and wired parts of it for the new electric light, so that we may get a hint of how it may look when reassembled.

Perhaps we may frighten away the ghost of so many years ago with a little illumination, gentlemen?
right here waiting歌词
Hannibal
CARLOTTA:
This trophy from our saviours, from our saviours! From the enslaving force of Rome!
GIRL'S CHORUS:
With feasting and dancing and song, tonight in celebration, we greet the victorious throng, returned to bring salvation!
MEN'S CHORUS:
The trumpets of Carthage resound! Hear, Romans, now and tremble! Hark to our step on the ground!
ALL:
Hear the drums -- Hannibal comes!
PIANGI:
Sad to return to find the land
we love threatened once more by Roma's far-reaching grasp,
REYER:
Signor . . . if you please: "Rome". We say "Rome' not "Roma"
PIANGI:
Si, si, Rome, not Roma. Is very hard for me.
LEFEVRE:
This way, gentlemen, this way.
Rehearsals, as you see, are under way, for a new production of Chalumeau's "Hannibal".
Ladies and gentlemen, some of you may already, perhaps, have met M. Andre and M. Firmin ...
REYER:
I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting a moment?
LEFEVRE:
My apologies, M. Reyer. Proceed, proceed ...
REYER:
Thank you, monsieur. "Sad " Signor ...
LEFEVRE:
M. Reyer, our chief repetiteur. Rather a tyrant, I'm afraid.
PIANGI:
Sad to return to find the land we love
threatened once more by Rome's far-reaching grasp.

Tomorrow, we shall break the chains of Rome. Tonight, rejoice - your army has come home.
LEFEVRE:
Signor Piangi, our principal tenor.
He does play so opposite La Carlotta.
GIRY:
Gentlemen, please! If you would kindly move to one side?
LEFEVRE:
My apologies, Mme. Giry. Mme. Giry, our ballet mistress.
I don't mind confessing, M. Firmin, I shan't be sorry to be rid of the whole blessed business.
FIRMIN:
I keep asking you, monsieur, why exactly are you retiring?
LEFEVRE:
We take a particular pride here in the excellence of our ballets.
ANDRE:
Who's that girl, Lefevre?
LEFEVRE:
Her? Meg Giry, Madame Giry's daughter. Promising dancer, M. Andre, most promising.
GIRY:
You! Christine Daa? Concentrate, girl!
MEG:
Christine . . . What's the matter?
FIRMIN:
Daa? Curious name
LEFEVRE:
Swedish.
ANDRE:
Any relation to the violinist?