Synopsis
Act II
Through the mist of his lagoon, we see the Phantom gently poling a gondola, Christine lying near his side, still unconscious. "Here you'll be safe," he sings as he poles, and wonders what life would be like "Without Your Music."
He docks and carries her to a glorious four-poster bed with a gauzy canopy. It almost seems it's been waiting for her. In the shadows we can make out the portrait of a woman bearing an uncanny resemblance to Christine. He puts her gently into the bed, then heads for his rack of masks. But en route he meets Carriere, who has entered his domain uninvited. Carriere has guessed what's happened and demands that the Phantom give Christine back. But the Phantom refuses. He tells Carriere to leave and never come again from now on, Christine will be all he needs. Carriere goes off. The Phantom puts on the most ferocious of his masks and sings a reprise of "Where in the World," but this time as a song of vengeance. Then he ascends the stairs with murder in his eyes.
No sooner is he gone than Carriere returns and confronts Christine, who has just awakened. "Where am I?" she asks. "Am I dreaming this?" He assures her she's not, and that she is in grave danger and must get out at once. Then he tells her who her mentor really is, and that he has lived all his life down there, features hidden by a mask, because "his face is like death."
"How do you know all this?" she asks.
"I am his father." He points to the portrait. "She was his mother. Her name was Belladova, and she was the most glorious singer I've ever heard. She died when he was still a child. But he's always remembered her voioce. That's why he's in love with you. Your voice reminds him of hers."
Both sweet and painful memories come flooding back. First is the sweet part, Carriere's love for Belladova. Then comes his terrible betrayal of her trust and its tragic consequence: the birth of Erik, down hehre, as hideously deformed as their relationship had become. "She'd gone mad by then, and somehow saw only beauty in his face."
Christine asks Carriere if Erik knows he's his father. "No, he thinks I'm some kind of uncle." Carriere's only excuse is cowardice. "I've always known someday I'd have to abandon him. And I couldn't bear him knowing his father had left without taking him along. Which is what you must now do. Erik can't be helped by anyone. He doesn't understand your world and never will."
But she refuses. She will not leave till she's spoken to him again. She's not afraid. "I know his heart."
"Unfortunately, there's more to him than that. Get out as soon as you can." And Carriere leaves.
Up above, the Phantom, pretending to be an admirer, presents Carlotta with a bouquet of flowers. but it's a death bouquet, for when she tries to flee, he electrocutes hehr. Back again in his domain, the Phantom greets Christine as ifr it were just a normal day by suggesting they go for a picnic. He's prepared a basket. In it are some wine and a book of poetry by William Blake, his favorite poet. The blissful mood is broken when Christine asks a favor: she wants to see his face. It's the one favor he cannot grant and she must never ask it again! But she persists. "If love could let your mother gaze at you and smile, why can't it do the same for me?" She sings "My True Love" and wins his heart.
Against his better judgment, he removes his mask. His face is a horror beyond anything she's imagined and she screams and flees, plunging him into despair. His only refuge is the poetry his mother read him as a child, his beloved Blake. He grabs it. Rocking back and forth, he sings "My Mother Bore Me." Then, singing "Christine," he races after her in wildest fury.
Her escape takes her up to her former dressing room, where the Count is in his own despair. She tells first him and then Carriere what has happened. She's betrayed Erik's trust! She must go back and make amends! But Carriere senses what is coming and tells the Count to get her out of the building at once. Then he warns the police to get everybody else out as well, but by this time the Phantom has emerged, seeking Christine and revenge.
Policemen spot him. They shoot. He's hit, but he escapes. The police spread out. Carriere finds him first, hiding behind some props, too wounded to make it back without help. He's dying; they both know it. As they wait for the coast to be clear, they talk in a way they never have before. Carriere sings "You Are My Own" and his son responds in kind. The way seems clear and they make their move, but the Count appears. He has Christine. The Phantom and the Count struggle. Police arrive as they're fighting. The phantom escapes up into the flies but he's badly hurt - he's trapped! The chief of police tells his men not to shoot. "We can take him alive!" It's Erik's worst nightmare. He'll be put on display like some circus freak! The police are closing in. He looks down at his father and cries out for help.
Carriere knows what Erik means. He grabs a policeman's gun and aims it at his son. But he can't bring himself to do it. Erik begs him. Carriere fires. The Phantom falls, calling out Christine's name.
Christine runs to wherer he has fallen. Carriere gets the police to move away. Gently, despite Erik's protests, she removes his mask. This time she does not flinch. She has learned from Carriere what Belladova sang to him when he was a child - "You Are Music" - and she sings it to him now. Then, as all watch in amazement, she leans closer and kisses his forehead tenderly. His hands relax, and with a great gentle sigh, he dies. Slowly she puts his mamsk back on. the count comes up and helps Christine off. Carriere bends down and cradles his son's body in his arms as the final curtain falls.
Act I
This page is not intended to infringe on any copyright restrictions. This information was taken from the liner notes of the CD recorded on December 15, 1992.
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