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twistedtummies2 · 1 year

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Top 10 Songs from “Phantom of the Opera”

“Seal my fate tonight! I hate to have to cut the fun short, but the joke’s wearing thin…let the audience in…let my opera BEGIN!”

Tonight is a big and tragic night. Tonight will mark the final Broadway performance - after 35 years - of Andrew Lloyd Webber’s “Phantom of the Opera.” Till now, the show has been the single longest-running musical in Broadway history, and one of the longest running stage shows in the world. While it is entirely possible the show could come back in a Revival sometime, and the musical itself isn’t necessarily going anywhere - as far as I’m aware, it’s still set to run a while on the West End, not to mention various other International and Touring productions - it is sad that such a mainstay of Broadway will, after three-and-a-half decades, finally be coming to an end. “Phantom” is one of my top three favorite stage musicals, and so I felt it was only fair that - today - I give it the kudos it deserves by talking about what is arguably the most important thing in a musical: the music. Many would consider this to be Andrew Lloyd Webber’s masterpiece, the pinnacle and peak of his musical career, and the songs featured in it are as immortal as the Gothic novel upon which it is based, not to mention the age-old themes and ideas contained inside. It is a story of horror and beauty, of love and hate, of triumph and tragedy. The songs in the show run the gamut from lighthearted and almost farcical operetta to contemporary rock-opera hybrid mayhem, all without feeling like anything is too out of place; a hard balancing act to accomplish. There are no less than twenty-one tunes in the score for Phantom, and the show is almost completely sung through from start to finish. Choosing my favorite songs was tough, but I think I’ve managed. Oh, and while I doubt I need to say this…just for warning in case, SPOILERS! Without further ado, here are My Top 10 Songs from Andrew Lloyd Webber’s “The Phantom of the Opera!”

10. I Remember/Stranger Than You Dreamt It.

In all honesty, it’s more the SCENE than the song that gets this tune onto the list. This is the iconic moment in the story where Christine first unmasks the Phantom. The two-part sequence begins with the dreamy, dazed-sounding “I Remember,” as Christine stirs from her sleep and sees the Phantom playing his organ, sketching down notes for his “Don Juan Triumphant.” When she approaches and removes the mask, the music abruptly jolts into “Stranger Than You Dreamt It,” which, itself, has a sort of two-part structure: the first half is wild, frenzied, and psychotic, as the Phantom flies into a rage at being unmasked…but then drops down into a slower, softer, almost pleading tune, as he calms down from his fit of temper and tries to apologize and explain the deeper layers to the horrified Christine. While the song isn’t exactly one I sing in passing, so to speak, the scene is a major turning point in the tale, and the way the music swings back and forth between the different characters and emotional fulcrums makes this a memorable scene in the story.

9. Masquerade/Why So Silent?

Technically, this is two songs (sort of like the previous pick), but since one basically leads into the other, I felt I should count them both. One of the most iconic songs in the show, “Masquerade” opens up Act II on a deceptively positive note. Taking place a year after the events of Act I, we see that the main characters are attending and hosting grand masquerade ball inside the opera house. It’s made clear that, apparently, the mysterious Phantom has not been seen in a while, and that our other two leads - Christine and Raoul - are officially engaged to be married. The song itself is a symbolic piece, using the ball itself as a metaphor for several things: the way people hide their true intentions or beliefs, the false sense of security that the scene paints, the secrets that Raoul and Christine are keeping, and so on. These analogies prove to be prophetic, as the song transitions into “Why So Silent?” as the Phantom does, predictably, return, crashing the masked ball in the guise of Poe’s Red Death. While the Red Death scene is short, it’s honestly one of my favorite moments in the show: the Red Death costume, the funeral-dirge-like music that stomps down the one gay revelry, and the mysterious warnings delivered by the Phantom are all delicious.

8. Point of No Return.

A lot of people are probably surprised to see this song so low in the ranks, I imagine. The honest truth about why is simply that, while I love this song, I just don’t tend to sing it or reference it in passing as often as the rest on this list. It’s a great number, I guess it’s just not the one I most immediately think about. The song takes place when the Opera House puts on the Phantom’s own opera, “Don Juan Triumphant,” as a way of trying to trap the madman. Christine plays the main character in this play-within-a-play. The Phantom is wise to their tricks, however, as he disguises himself as the male lead - Don Juan himself - by murdering the would-be performer, Piangi, and taking his place onstage. These events lead to this song, as the Phantom uses his own composition to his advantage, trying to seduce Christine and spirit her away with it never seeming out of the ordinary. At the same time Christine realizes the Phantom is her partner in the duet, and has to find some way to reveal him without ruining Raoul’s trap for the villain. It’s a song of tension, deception, and sensual excitement, with a lot of different layers to it for the characters involved.

7. Notes.

Just as it was likely odd to see “Point of No Return” so low in the ranks, seeing “Notes” above it is probably equally baffling. The truth is that I just sort of reference and hum along to “Notes” a lot more, in general; it’s a catchy, simple beat and song that’s easy to do that to. It also probably helps that, if I had to play any role in Phantom of the Opera, I’d actually want to play one of The Managers most, and this song - based around their key leitmotif, which is reprised and reused throughout the show - is the primary reason why. “Notes” occurs part of the way through Act I, and - as the title implies - it revolves around several characters, most notably the Managers, all receiving mysterious notes all signed by the Opera Ghost, detailing his plans for the Opera House and his demands of those inside. It’s a comical, pattering sort of tune, which feels similar in nature to some of the works of Gilbert & Sullivan, and it allows for a bit of levity amidst the darker themes and sequences at play within the show, while still serving the story.

6. Wandering Child.

Another tune based around a repeated leitmotif in the show, this is arguably the ultimate culmination of the “Angel of Music” theme that plays throughout the musical. Taking place after the grand aria “Wishing You Were Somehow Here Again” (more on that later), the song has the Phantom - who hasn’t been seen in a while in the show, having seemingly vanished after the Red Death sequence - making his grand reappearance before Christine. He tries to use his hypnotic abilities to entice her back to him, claiming to be the Angel of Music her father promised to send her. The song is grand, beautiful, and romantic, but with a dangerous undercurrent; a haunting tune that matches the Phantom himself, as he tries to lure Christine back to him one last time, as peacefully as possible. This attempt is interrupted, however, by the arrival of Raoul…and it’s here that things get interesting. In some productions, the three actually sing a three-part chorus, making this one of only two parts of the show where all three of the main characters are singing in tandem. In others, Raoul just interrupts at the last minute, barging in and breaking up the harmony with a verse all his own. Personally, I prefer the former approach, but the song is still great even if the alternative option is used.

5. All I Ask of You (Plus the Reprise).

Much like with “Masquerade,” this is technically two songs, but again, one immediately follows the other, and it’s all basically the same tune. This is the great love song of the show, performed between Christine and Raoul. After the Phantom commits his first murder, and Christine tells Raoul about the reality of the situation, Raoul tries to comfort her. The two end up confessing their love for each other in the process, and decide to officially jumpstart their relationship, right then and there, as Raoul offers Christine security and care, and she accepts his hopeful affections. This easily could have been a corny and cheesy sort of old-fashioned love ballad, but it actually becomes a truly sweet, lush, and powerful moment, especially when handled by excellent actors, who can bring something special to the sequence. I will never understand the hate Raoul gets after songs like this, to be perfectly honest…but with that said, arguably the part that tops this song is the reprise that follows. It turns out the Phantom was watching the scene of love serene with jealousy and surprise (bravo, if you get that reference), and - feeling dejected and betrayed by Christine - he thus vows vengeance on both the lovers and all others who dwell inside the Opera House. The two versions of the same song act as a major turning point in the show, and make for a spectacular closure to the first act.

4. The Final Lair.

“The Final Lair” is a medley of different things put together that create the grand finale of the show. I actually don’t want to go too into detail here, in terms of story, because - even though I am giving away spoilers throughout this - I feel the one thing I DON’T want to ruin for anybody reading is how the story ends. Suffice it to say, this sequence marks the moment where the Phantom - unmasked and VERY unstable - has his final confrontation with both Christine and Raoul. Christine is forced to make the toughest choice she’s ever faced in her life, completing her own story arc, all while an angry mob tries to ferret out the Phantom’s secret lair, adding a sort of “ticking clock” element to the story. At this point, the Phantom is completely out of control: different actors depict the Phantom’s rage-and-despair-fueled insanity in different ways, but it’s the moment where the performer can completely cut loose, as the monster under the mask is fully unveiled. For Christine, this is one of the meatiest part of the show for the character, and every actress is able to bring different elements of her final duel of wills with her erstwhile Angel of Music in a different way. While Raoul has arguably the weakest part of the three, his presence is still necessary and acts as the culmination of the love triangle the story hinges upon. It’s a deranged whirlwind of emotions and passions that make for a marvelous finale to this decadently delightful tale.

3. The Phantom of the Opera.

The title song of the show is an anomaly in the soundtrack, as it combines the more classical, typically operatic music found throughout the rest of the show with an 80s-era rock-and-roll vibe, complete with a bangin’ (do the kids still say that these days?) electric guitar. The song occurs early in the show, and acts as the grand reveal of the Phantom himself, in full, as he leads Christine - victorious after her great stage star debut - down into his lair, apparently with some sort of reward in mind for her after her success. The song is a showstopper with a point, as it gloriously illustrates the relationship between Christine and the Phantom, and gives the Phantom the rousing introduction such a powerful character requires. To be blunt, it’s at this point in the story where you KNOW this show is going to be good, and there’s a good reason this song is almost always featured when snippets of the show are performed for special events: it’s a great duet that gives the main protagonist AND main antagonist equal part, and it poetically and catchily describes the story’s primary focus in a nefarious nutshell. It more than deserves placement in my Top 3.

2. Wishing You Were Somehow Here Again.

I actually had a hard time choosing between my top two songs. Each acts as the focal solo number for one of the two main characters, and each has a slightly similar, highly emotional tone. Christine’s song is this one, and it is, in my opinion, the single most emotional and heart-catching of the two. Uncertain, scared, and slightly depressed after everything that’s gone down so far, Christine wanders to the graveyard to pray at her father’s tomb. The song she sings is so many things at once: she feels lost without her father there, and always has, and she’s never felt more lost than now. She remembers the good things about him as best she can, while also trying to let go of his memory…but no matter how hard she tries, all those comforting thoughts and those strong desires cannot completely erase her sorrow, more palpable than ever before. If you have ever lost someone close to you - a parent, a grandparent, even a very dear friend - then you will easily be able to understand everything the poor young lady goes through here. If you have not…you can have no idea how it feels.

1. Music of the Night.

While “Wishing” is undeniably the most emotional song in the show for me, “Music of the Night” is easily the standout piece of the musical for me. This is the Phantom’s grand solo, performed before Christine as he guides her around his underground lair, and tries to seduce her for the first time. While the “Angel of Music” anthem found in songs like “Wandering Child” certainly describes the Phantom in a succinct fashion, “Music of the Night” gives us a proper look into the mind of the so-called monster, to see the man and his passions underneath. The song is sultry and shadowy, yet never truly scary or intimidating. I always personally felt that the Phantom’s love for Christine was more than mere physical attraction; he cares for her in a very real and powerful way, and he wants her to care for him in the same manner. He’s just not entirely sure how to express that desire and that emotion. This is the song where he tries to do just that. The tune warps between a lilting, almost lullaby-like melody to something grander and more glorious, the Phantom changing tactics between soft, inviting, almost pleading methods to more forceful techniques, as he tries to seduce Christine to his side in more ways than one. It is this song that first makes us feel pity and sympathy for the Phantom, and makes us realize he’s more than just the dark and dangerous figure we’ve been led to expect up till now. As beautiful as it is important to the story and character, “Music of the Night” is, without a doubt, My Favorite Song from Andrew Lloyd Webber’s “The Phantom of the Opera.” Honorable Mentions Include…

Prima Donna.

Angel of Music.

The Mirror (Angel of Music).

Why Have You Brought Me Here?/Raoul, I’ve Been There.

#list #countdown #favorites #best #songs #music #phantom of the opera #andrew lloyd webber #broadway #west end #musicals #musical theatre #theatre #top 10 #rip phantom on broadway

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countessimp · 1 year

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Idk why but I ended up on a 15 minute midnight mission to find out what the younger of the Hammonds look like... Nic is the black and white picture (this is the first one I've found that actually shows him) and obviously we know which one Rich is, that leaves the third picture as Andrew.

#richard hammond #nicolas hammond #andrew hammond #top gear #the grand tour #idk man it just kind of happened #weird first post on this app after like a 5 or 10 year break #hamster hammond

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maturemenoftvandfilms · 2 years

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Top 10 father/son fantasies

Recently, an anon wondered if I have ever had thoughts of a father and son combination and offer one to me. Because of that I decide to make this list.

My parameters here. I had to be attracted both father and child when both were still alive. So no combos like Dan Blocker and his son Dirk Blocker.

Mmm... on of my favs though.

#10. Lou Holtz & Son Skip Holtz

I've been fantasying about Lou Holtz since I saw him on the sidelines at Notre Dame. I first spotted Skip when he was coaching under his father at South Carolina from 1999-2004, but it wasn't until he was at Louisiana Tech that the father/son fantasies started happening.

#9. Paul Sorvino & Mia Sorvino

I known it's his daughter, but I'm BI and I wanted to dick these two down for years now. So of course I'd imagine doing them together.

#8. Bum Phillips & Wade Phillips

I enjoyed Wade Phillips on the sidelines over the years. And when the announcers would talk about his his father Bum Phillips, I had to look him up. The Cowboy look is one many things that do it for me and Bum definitely had the look down pat. And the Bum and Wade fantasies began.

On a Side Note: Check out Wade’s tits.

#7. George H. Bush & Sons

I just like dreaming of George, GW and Jeb having their way with me. Individually, together and in combinations.

#6. Prince Philip, Duke of Edinburgh, Queen Elizabeth II and Children

Even though I have Queen Elizabeth and Princess Anne in this one, I also have his sons too. So it counts. Basically, the fantasy takes aspects of Cinderella and Goldilocks and the Three Bears. I'm at a royal ball and while there, I happened to fuck Prince Charles, Princess Anne (still BI), Prince Andrew and Prince Edward. Apparently, the next day, all of them announced they’re leaving there respective partners for one of them to marry me. So Queen Elizabeth II ordered me to the palace and after I gave her and her husband a taste of THE DICK. What? She's the queen. Anyway, I fuck her children again, some multiple times until I settle on one. Usual, Andrew or Charles.

#5. Ed Asner & son, Matt

It's only recently that this father/son tag team fantasy has manifested in my mind.

#4. Buddy Ryan & Sons, Rex & Rob

I'd like to imagine Buddy in my mouth, Rob on my cock with Rex sucking my toes and jerking off on my feet.

What? It's well documented that Rex has a foot fetish.

#3. Spike Dykes & Sons

Spike Dykes, Sonny Dykes and Rick Dykes. At first this was a 3-some, but in making this list, I found Spike's other son, Rick. And now it's a 4-some.

On a Side Note: Mmm... Sonny tit.

#2. Albert II of Belgium & Sons

King Philippe, Prince Laurent and I, going at it while former King Albert watch in a corner. Preferable in a nice, dark suit. Eventually, he'll be in me after his boys have their fun.

#1 Bobby Bowden & Sons

This is what I'd like to call 'the real' Bowden Bowl. Bobby Bowden, oldest son Steve Bowden (not picture), second oldest Tommy Bowden, Jeff Bowden and last but not least Terry Bowden, my favorite. All locked in a hotel room with me for a weekend. Yeah... that's the fantasy.

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stellarchai · 1 year

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My Spotify wrapped is so embarrassing cause I know I was just listening to one playlist on repeat the entire year 🫣

#spotify wrapped #like literally the top 10 songs are all on the one playlist #and its all andrew bird

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gyubby99 · 1 year

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Liana: I'm ugly

Alistar: I love my father very much

Liana: But I thought-

Alistar: I thought we were stating false information.

#the prophecy of immortal fire #and deena listens to andrew #j*hn is the best tpoif character #eve is a bimbo #rosalyn has parents #i'm a 1/10 #taylor swift is not the music industry #elsa has fire powers #mirabel got a magic door #dolores from encanto is deaf #jack frost is on top of the nice list

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itsnothingbutluck · 1 year

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#Top 10 Andrew Lloyd Webber Musicals of All Time

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wolfofansbach · 8 months

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BEING A LIST OF THE THIRTEEN GREATEST RIVERDALE LINES, ON THE OCCASION OF THAT SHOW'S TERMINATION

As our much loved/hated show comes to an end, I feel compelled to record, for posterity, the greatest thirteen pieces of dialogue to spring from the pens of RAS and his henchmen. It was, of course, originally a top ten list, but I simply could not exclude a few of these treasures. Without further ado:

13.

“I dropped out in the 4th grade, to sell drugs, to support my nana.”

“That means you haven't known the triumphs and defeats, the epic highs and lows of high school football.”

Spoken by: an inmate of Leopold and Loeb Juvenile Detention Center, and Archie Andrews.

In: 3 x 2

Yeah, okay, this one had to be on the list. It’s funny, I’ll admit. It’s a great example of the overwrought semi-sincere melodrama that helped make this show so special. It’s low on the list largely because The Normies got their hands on it, so every time I hear someone make a reference I get all “do not cite the deep magic to me, witch.”

12.

“No! No! What are we supposed to do now? I’m horny as heck!”

Spoken by: Archie Andrews

In: 7 x 16

Season 7 is undeniably dreadful, and yet there are diamonds in the rough. The occasion is the failure of a projector, just as Archie and Reggie prepare to watch a pornographic film. The utter desperation with which KJ Apa delivers this line is exquisite. One is made to feel they are witnessing a genuine tragedy.

11.

“Tonight, they’re making an exception and debuting a cover of the song my parents claim they were listening to the night Jason and I were conceived.”

Spoken by: Cheryl Blossom.

In: 1 x 1

Really a fantastic line. A wonderful encapsulation of the casual absurdity of Cheryl’s character, and a foretaste of the lunacy we would plumb in later episodes and seasons.

10.

“In case you haven’t noticed, I’m weird. I’m a weirdo. I don’t fit in and I don’t want to fit in. Have you ever seen me without this stupid hat on? That’s weird.”

Spoken by: Jughead Jones

In: 1 x 10

A genuine classic. “High school football” before “high school football.” One is never entirely sure just how sincere the line is meant to be, both on a meta-level and in-universe. A perfect illumination of Jughead’s pretentiousness. It is made all the better by the occasional cuts to Lili Reinhard’s agonized face.

“At the last dance, multiple students were murdered.”

Spoken by: Principal Holden Honey.

In: 4 x 2

Delivered as an explanation to Toni and Cheryl, as to why there would be no school dance this year. Principal Honey is in fact supremely rational in the cancellation of this dance. This being Riverdale, he is of course treated as an unreasonable tyrant.

“Bro, I know all the secrets of this universe.”

Spoken by: Archie Andrews (evil version)

In: 6 x 5

Spoken as evil Archie reveals his evil plan to keep the parallel universes apart. KJ Apa’s delivery once again makes this line. He is comically sinister. Strangely, he sells it.

“A Vughead kiss, right now, in the present might be precisely what it takes to save a future Bughead from imploding.”

Spoken by: Jughead Jones.

In: 2 x 14

One of those lines that both makes me laugh and makes me genuinely angry. This was a fairly early season, and this may have actually been the first line to get me asking, ‘did they genuinely write and deliver that?’ Extra points for use of the atrocious ‘Vughead’ portmanteau ship name rather than ‘Jeronica.’

“I’m the ultimate wild card. I am the daughter of The Black Hood. The nightmare from next door. I’m training with the FBI and I’m coming for you, you psycho bitch.”

Spoken by: Betty Cooper

In: 4 x 14

Just delicious. Another one of those lines that leaves you somewhat unsure whether or not the writers understood how genuinely hysterical it was. “The Nightmare from Next Door” sounds like an announcer hyping up a wrestler. Spoken with a raw sincerity by Lili Reinhart. Also points for the heavy homoeroticism between Betty and Donna.

“For I am Cheryl Blossom, Queen of the Bees.”

Spoken by: Cheryl Blossom.

In: 5 x 16.

This one really doesn’t require any elaboration.

“Elijah ascended…and I will, too.”

Spoken by: Edgar Evernever.

In: 4 x 5.

Admittedly, this one is only spectacular with context. But in context—the context being that Chad Michael Murray delivers this line while dressed like Evel Knievel and standing in a cartoon rocket right out of a Warner Bros cartoon—it becomes utterly magnificent.

“It’s not queer baiting, it’s saving the world.”

Spoken by: Veronica Lodge.

In: 6 x 22.

It’s actually hard for me to decide whether this one is funnier with or without context. Without context it’s wonderful, but it possibly becomes even funnier when you know that the context is that Veronica needs to kiss Cheryl to transfer superpowers into her body so she can turn into a Scarlet Witch knock-off and stop a magic comet summoned by Sephiroth an English wizard who is also the Devil.

“If there��s no wedding reception, it means the Gargoyle King has won.”

Spoken by: Kevin Keller.

In: 3 x 12.

One of my personal favorites. This is a perfect line because like #3, it requires no real elaboration. There is absolutely no context in which it isn’t hysterical.

1 .

“Word of my exploits serving Nick his comeuppance has seeped into the demimonde of mobsters and molls my father used to associate with, so the five families are sending their youngest and brightest, their ‘princes,’ as it were to, well, come court the rare Mafia Princess who can belly up to the bar with the big boys.

Spoken by: Veronica Lodge.

In: 2 x 20.

This is, in my opinion, the all-timer. Every word is perfect. The rapid-fire alliteration. The use of the word ‘demimonde.’ The entirely unnecessary addition of ‘as it were.’ This is borderline Dr. Seuss. The fact that Camila Mendes delivered it without cracking a smile should have won her an Emmy. No. An Oscar. This line is Riverdale.

#riverdale #veronica lodge #jughead jones #betty cooper #archie andrews #kevin keller #cheryl blossom #edgar evernever

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