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| The Phantom of the Opera (2004 Movie Soundtrack) | 
 enlarge | Artists: Andrew Lloyd Webber, Richard Stilgoe, Gerard Butler, Emmy Rossum, Patrick Wilson, Charles Hart
Label: Sony
Category: Music
List Price: $18.97
Buy New: $9.48
You Save: $9.49 (50%)
New (47) Used (18) Collectible (1) from $7.36
Avg. Customer Rating:  214 reviews
Sales Rank: 420
Format: Soundtrack
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.5 x 4.9 x 0.4
MPN: 93521
UPC: 827969352120
EAN: 0827969352120
ASIN: B000654YWY
Release Date: November 23, 2004
Availability: Usually ships in 1-2 business days
Condition: BRAND NEW Factory Sealed - Ready to be shipped within 24 hrs from California - Average 5 workdays delivery time - Excellent customer service - Buy with confidence!
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| Tracks:
| • | Overture - The Phantom Of The Opera: Original Motion Picture Soundtrack | | • | Think Of Me | | • | Angel of Music | | • | The Mirror (Angel Of Music) | | • | The Phantom Of The Opera | | • | The Music Of The Night - Gerard Butler | | • | Prima Donna - Simon Callow | | • | All I Ask Of You | | • | All I Ask Of You (Reprise) | | • | Masquerade - Margaret Price | | • | Wishing You Were Somehow Here Again | | • | The Point Of No Return | | • | Down Once More/Track Down This Murderer | | • | Learn To Be Lonely - Minnie Driver |
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| Editorial Reviews:
Amazon.com
For better or worse, Andrew Lloyd Webber's adaptation of Gaston Leroux's gothic horror/romance novel has done for stage musicals what Spielberg's Jaws did for fish stories, with worldwide sales of its original cast album approaching 25 million. While director Joel Schumacher's film turns on his typically ambitious visual verve, its new film soundtrack recording has been paradoxically focused in scope, yet beefed up dynamically via the brawny presence of a hundred piece orchestra and The London Boys Choir. This single disc version showcases all of Phantom's key songs (a deluxe, double-disc edition is also available), with Gerard Butler imparting a welcome, youthful sensuality to his Phantom, making a fine foil for Emmy Rossum's ever-conflicted Christine. Original show orchestrator David Cullen has fashioned compelling new contemporary arrangements to frame Webber's songs -- which now conclude with the lilting, upbeat new ballad he wrote for the film, "Learn to Be Lonely," sung by Minnie Driver. --Jerry McCulley
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| Customer Reviews: Read 209 more reviews...
 "The Phantom of the Opera is there, inside my mind" January 26, 2005
127 out of 133 found this review helpful
Though vastly under-looked and over-scrutinized by critics and longtime enthusiasts of the original play, with all comparisons aside I personally feel that 'The Phantom Of The Opera' is one of the greatest cinematic experiences ever, and musically it is absolutely breathtaking. This is the type of film I always dreamed of being made. It's a beautiful, tragic tale of love, madness and seduction all rolled up into one. Thus, it is a romantic Gothic horror story unlike anything I've seen done before it and I, anyway, think that it is a masterpiece (and perhaps, even, a future classic?).
If you wish to hear the entire production, as not to miss anything, you'd be better off buying the two-disc deluxe edition, but if you simply want to hear the best tracks from the movie, this collection of highlights does just that. Of course, if you cherish the music as much as I do you might as well buy them both.
The melodies/lyrics in this soundtrack emit many different emotions, such as joyous confessions of love during "All I Ask Of You" that quickly changes into sadness as the Phantom, hurt and betrayed, sings the reprised version full of heartache and rage. On the other hand, "The Phantom Of The Opera" sends chills throughout my body as the orchestra, hauntingly beautiful organ and electric guitar play feverishly to the Phantom saying "sing, my angel of music" in a demanding yet hypnotizing tone while Christine obeys, singing higher and higher as if in some kind of trance. "The Music Of The Night" is another favorite of mine, along with "Prima Donna", "Masquerade", "Wishing You Were Somehow Here Again", and "The Point Of No Return". I was also pleasantly surprised to enjoy the brand new studio track written specifically for the closing credits, "Learn To Be Lonely", which is sung by Minnie Driver who plays the hilarious opera diva, Carlotta. I only wish it were longer...
The lovely Emmy Rossum may be no Sarah Brightman but I think she lived up to the expectations Sarah left us with rather well (and, remember, she was only 17 during filming). She's able to be both a lustful temptress as well as sweet and innocent when needed. As for Gerard Butler, he may not have the world's greatest voice but, to me, his dark and rugged style fits his imperfect character perfectly. Now, for a complete turn around, I think most will agree with me when I say that Patrick Wilson (Raoul) has the most gorgeous voice of them all. But what did you expect? He's a 'pretty boy'.
'The Phantom Of The Opera' may still be out in theaters but I am already waiting with bated breath for the DVD to become available. Until then I at least have the soundtrack to replay certain scenes in my mind. The only gripe I have is, by listening to this, it makes me want to see the movie every time I do...
Andrew Lloyd Webber's PHANTOM hits the movie screen December 28, 2004
75 out of 85 found this review helpful
THE PHANTOM OF THE OPERA has been a long time in coming to the screen, but thanks to the box-office boom of CHICAGO and MOULIN ROUGE (and subsequent renaissance of the movie musical), it's finally arrived - and it's gorgeous. Andrew Lloyd Webber's musicalization of the Gaston Leroux potboiler has been enjoyed onstage now for 18 years, both the London and Broadway productions still high-sellers with theatergoers. This all-new PHANTOM will be welcomed by all Phans with open arms.
This single disc edition of the soundtrack comprises all the main numbers from the musical.
Gerard Butler is a fine Phantom (though occasionally quite raspy and with an accent that seems at odds with the character and other actors).
Young Emmy Rossum is a lovely Christine, and imbues the character with all the restlessness and uncertainty of youth (the only glaring change is the simplified cadenza at the end of "Think of Me"). Her soprano voice is quite beautiful, though it doesn't reach the dizzying heights of previous Christine's like Anna Maria Kaufmann, Rebecca Caine and Sarah Brightman.
Patrick Wilson is a dashing Raoul, beautifully sung (as you would expect from this veteran of Broadway's OKLAHOMA! and THE FULL MONTY). Raoul can be a difficult role to play (in the wrong hands he can be quite weak and effeminate), but Wilson gives us a strong, stridant and powerful adversary to the Phantom.
Margaret Preece (serving as the voice of Minnie Driver's imperious opera diva Carlotta) is thrillingly-sung in the breathtaking "Prima Donna". Jennifer Ellison is a fine little Meg Giry.
The orchestra is full and rich, and serves the music well (the trademark organ motif of the Overture and swelling passages of "All I Ask of You" are superbly-executed). In their brief moments here in this `highlights' disc, Miranda Richardson (as Madame Giry), Simon Callow and Ciaran Hinds (as opera managers Firmin and Andre) are all excellent.
This new PHANTOM recording deserves it's place on the shelf next to the original cast with Crawford and Brightman.
Better than Crawford! December 11, 2004
22 out of 35 found this review helpful
The first time I heard Phantom, I really, really disliked it. Michael Crawford's thin, reedy tenor really grated my nerves. There was nothing grand or romantic in it, and the character of the Phantom came off as a whiny cry baby.
Thank goodness they had some sense and cast a guy who can act while singing, and isn't afraid to come out of his head voice for a minute. Gerry Butler is awesome, though I do feel there were points in this soundtrack where he could have toned down the intensity some. I'm sure it will look great on the screen, but through headphones some of the urgency and anger sounded a bit silly.
While Sarah Brightman will always be a favorite singer of mine, Emily Rossum has a much more traditional theatre voice and really uses it to bring new life into the music. You can feel her pain and indecision in the last few songs.
I'm a bit dissapointed that Minnie Driver didn't sing. She has a beautiful voice, and I don't really see the point in taking a role with very little spoken dialogue. But whoever did her part did a great job!
My only complaints are the comically drawn out ending of the finale- three second pauses between notes are just too long- and the abhorent pop song stuck on the end. When ALW wrote "You Must Love Me" for Evita, it fit with the rest of the score. This new song sounds remarkably like a Burt Bacharach sap-fest from the seventies. Totally killed my Phantom buzz.
Overall, it's a much, much better product than I expected.
Not for snobs November 27, 2005
13 out of 17 found this review helpful
I have a degree in music and have laughed at some of the reviews here eulogizing the original performances by Sarah Brightman and Michael Crawford to the detriment of Emmy Rossum and Gerard Butler. I fell in love with Emmy Rossum's performance right from the start. She doesn't have Sarah Brightman's pedigree, but her performance has an innocence that I never saw in Sarah Brightman, whose voice I always disliked for its hard edge. I find Emmy Rossum's voice to be much more subtle and nuanced.
As for Gerard Butler, get over MC! I was fascinated by the contrast between Gerard Butler's rough sensuality and Patrick Wilson's upper class sophistication. I think that's what they were going for, and I think it succeeded! From a purely musical perspective, MC has a more trained voice; we all know that. But his Phantom to me seems more polished, cold and calculating than Gerard Butler's raw and sexy one. Are you looking for an operatic performance or the whole character?
By the way, I've seen 3 different Phantoms perform on stage and found aspects of each of their performances that I loved. I didn't expect to see or hear Sarah Brightman (thank goodness, no matter how huge her range is!!) or Michael Crawford, and I didn't. I saw new interpretations, which was great. So if you want Sarah Brightman and Michael Crawford, listen to the old recordings. If your mind is open to new interpretations, get this - it sheds a whole new light on the story and its characters!
 Not the best recording of a movie musical ever... November 25, 2004
12 out of 18 found this review helpful
First off the good:
Strictly an Aural observation. After all this is a Soundtrack and I am reviewing the sound and the singing. The Movie is a different animal. This just reviews what comes off the CD.
The Purpose of this review is to judge the soundtrack not the movie.
The best thing about the recording is the orchestral track. If you are looking for a very lush and intricate recording of the music.
Another very good part about this show is the addition of Patrick Wilson(Raoul) to the cast. He has no problems getting the notes in his character. He is constantly on pitch and seems to understand his character.
There has been some basic restructuring of the show and it incorporates some of the less memorable scenes of the show while retaining their significance to the plot.
There was also a nice little addition to the show that is meant for the end credits called "Learn to Be Lonely" It is a very nice little folky song very much in the vein of sheryl Crow. Minnie driver sings it and it is perhaps the easiest song to hear repeatedly on the track. It does stand a reasonable chance as a best song.
There have been additional tracks composed to expand the show. These are a very fitting addition that is nice to hear and include some of the basic themes of the show.
Another thing that sticks out if you are familiar with the music is that there are parts that they have chosen to speak rather than sing. This would make sense except they kept the vocal line playing in the back ground. Slightly distracting. And it is smack dab in the middle of a song most of the time.
Other times you can tell they are speaking lyrics and it just feels out of place because the vocal line that is playing still in the background is so beautiful and the harmonies and counterpoint that originally existed are sorely missed.
Emmy Rossum has a very nice youthful voice. Sadly it is a thinner voice that is not traditionally associated with the part. Much hoopla was made when the casting of Emmy was made as it was said that she had sung with the metropolitan opera since she was seven. What was not mentioned was that this was with the metropolitan opera children's chorus. Which is a very lightweight singing. Her voice is not full by any means and lacks body. There are many times in the soundtrack where it sounds like her voice is coming out of an echo room like a shower or a bathroom, which doesn't befit the voice very well at all. Ironically, these moments are when she sounds the best. These are the moments when you can tell that there has been electronic enhancement to the vocal sound. There are a few moments where her voice is working in its lower reaches and her voice comes alive during these moments.
Onto the UGLY
Gerard Butler. He can't sing. He gets through the recording by speak the pitches of the notes that he is supposed to be singing. Unmercifully, rather than lowering the songs to fit his range he is forced to resort to screaming the higher pitches. This is most evident in the last few tracks of the CD. Butler is rarely on pitch and spends most of the time growling out every syllable. It is as though he is spitting out the words. This phantom isn't heartbroken and wounded. He is just plain old pissed off.
(On a personal note. I think it is harder to sympathize with the phantom when he is given hardly any redemptive qualities.)
My family won't even let me play the CD in the house anymore. They tell me it makes their "Ears bleed" And this is coming from the rest of my family that loves the show on stage.
Not a enjoyable Phantom.
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