Soundtracks Reviews

The Phantom of The Opera Soundtrack Reviewed

By Amy Somensky Nov 28, 2004, 1:42 GMT

I can’t remember the number of times I have listened to the Original London cast recording of The Phantom of the Opera. I know that the number of times is well over 50. I also know I have grown tired of it and was anxious to listen to the new film recording.

It must be said that it is difficult to compare any film soundtrack with its stage counterpart since they are two totally different mediums. It may even be a little unfair, but at the same time it is difficult not too. Since this particular film, Phantom of the Opera, is so legendary on the stage, it cannot be avoided and is to be expected. I freely admit that I might be a little biased.

The soundtrack I reviewed was the two disc version containing the entire score, not just the highlights. Besides the actual orchestral track, nothing about this recording is exceptional.

The score is all there from the stage version, with a few changes and additions. The score is lush, romantic, and sweeping. The best parts of the score for the most part are covered up by the actual film sound track, and by sound I mean footsteps, sword clashing, paper tearing, etc.. It is the strangest thing I have ever encountered in a score. It is as if they have spliced parts of the film onto the disc instead of recording the tracks alone. The track “Swordfight” on the second disc, is a wonderful orchestral piece, but it is overpowered by the grunts and sword clashes of Raoul and The Phantom as they duel. Also in the track containing the background information on The Phantom, I was too distracted too listen because of all the screams.

Numerous tracks from the London recording have been moved or altered in some way to accommodate the film’s plot, but the change I was most surprised about was the singing parts that have been changed to just dialogue. The only reason behind this I can think of is they don’t think the American movie going audience is ready for all singing. Andrew Lloyd Webber did that for Evita. Well, look where that film went. A new theme to the score has been added. Without seeing the film, I can only imagine that it a theme for the Phantom and the torment and isolation he has faced in the world. It is very touching and affecting.

The things I was most interested in and worried about was the singing abilities of the three leads, Gerard Butler, Emmy Rossum, and Patrick Wilson.

Gerard Butler and Emmy Rossum

First Gerard Butler as The Phantom. Joel Schumacher at one time said “he’s a fabulous singer.” Either he is a bad judge of talent or was pulling our leg, of which I am not sure, but he is far from a fabulous singer. He is capable at best. I was not one of the fans who insisted Michael Crawford be cast as the Phantom, but I had hoped for a singer with some kind of range. Butler cannot hit any of the high notes, when he tries he comes across as screaming and screeching, at times it almost seems painful. At the low range he is not bad, even good at times. I wished they would have lowered the notes instead of forcing him to try and hits notes he has no way of f hitting. He has brought some much needed sexuality and roughness to The Phantom though.

So much has been talked about Emmy Rossum’s years of study at The Metropolitan Opera. Her study is evident, but at times she struggles through the songs and is off key., Other times her singing is beautiful. At her worst you can barely understand what she is singing.

Emmy Rossum and Patrick Wilson

Patrick Wilson is the only one of the three to have any real theatre experience, and it shows. He has a very beautiful voice, is always on key and pitch, but at time it seemed he was a little slow and I wished he would just get on with the song.

A knew song has been composed to play along the credits. The song. titled "Learn to Be Lonely" is sung by Minnie Driver. The song, I believe is supposed to apply to the life of The Phantom, but really doesn’t work since it talks about the wilderness and trees. Compared to the rest of the music, it is embarrassing. It is just there to get a Best Song Oscar nomination.

Overall this soundtrack was not awful, it could have been done better, especially by not including the actual film background noises For anyone considering replacing the London soundtrack with this one, you had better hold onto it, as this one should only be pulled out once in a while.