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The Phantom of the Opera by Gaston Leroux
Gaston Leroux
Gaston Leroux's novel The Phantom of the Opera, first released in 1910, remained a perennial
favourite in the course of the 20th century and into the early 2000s. It used to be tailored to
numerous renowned films and into essentially the most profitable degree musicals of all time. Its
major character, Erik, is a romantic determine whose charm reaches throughout varied cultures
and times. he's a delicate soul, an complete composer and musician whose nice unfinished
work, Don Juan Triumphant, is defined as breathtakingly appealing via the only individual he
permits to listen to it; he's an The Phantom of the Opera item of pity, whose face has been
disfigured from birth, inflicting him to conceal at the back of a silk mask; and he's hopelessly in
love with a tender lady whom he can by no means heavily wish will love him back. on the similar
time, he a dangerous, menacing figure, lurking within the hidden catacombs underneath the
opera condominium and blackmailing those that won't bow to his whims. He can listen issues
acknowledged in privateness and will create catastrophes that will or will not be the injuries that
they appear to be.
“¡El destino te encadena a mí sin retorno…!” Gaston Leroux fue un poco outsider en su tiempo,
escribía sobre temas que no estaban de moda aunque sus historias llegaron a The Phantom of
the Opera ser muy conocidas porque mezclaba aventura, misterio y simbolismo de forma
amena y fácilmente disfrutable. Empezó a publicar sus historietas en novelas de folletín,
antecesoras de las famosas revistas pulp, y así siguió hasta que se murió. Pero lo que nos
atañe hoy es El fantasma de los angeles Ópera, esa gran novela cuyas adaptaciones teatrales
y cinematográficas tanta sombra le han hecho hasta casi hacer desaparecer los angeles
character —el autor — que se esconde tras los tejemanejes de los angeles ópera, el señor
Leroux. Y es que este señor period un gran seguidor de Edgar Allan Poe, Arthur Conan Doyle y
Alexandre Dumas ( sobre todo el señor Poe fue su escritor de referencia). Tanto Flaubert con
su Bovary como Maupassant con sus relatos y el Bel-Ami (entre otras novelas) le eran
totalmente indiferentes.En fin, creo que hacen falta pocas presentaciones. En los angeles
Ópera se rumorea que hay un fantasma, las ratas — apodo standard para designar al cuerpo del
ballet en l. a. ópera francesa en este periodo histórico— aseguran que lo han visto, los angeles
Sorelli — valuable bailarina de l. a. ópera— está que trina, y todo el mundo rumorea por lo bajinis
“¿Quién es el fantasma de los angeles ópera?”. l. a. ópera regentada hasta el momento por los
señores Debienne y Polighy pasa a manos de Firmin Richard y Armand Moncharmin y con este
traspaso nuestro misterioso hombre, el fantasma, les envía una cartita pidiendo que el palco
número five jamás sea reservado, y que todos los meses le abonen 20.000 francos por…
¿pasearse por ahí? Sí. Claramente, como buenos franceses, estos dos se indignan y se niegan
a pagar porque l. a. suma les parece excesiva y creen que alguno de sus trabajadores les
intenta estafar.Por otra parte está los angeles protagonista femenina, Christine Daaé, que se
encuentra viviendo drama adolescente. Huérfana, protégée de los angeles señora Valérius,
trabaja en l. a. ópera como una humilde bailarina más, a pesar de poseer una voz que hasta al
mismísimo Señor se le erizarían los pelos de los brazos al oírla cantar. Pero un día llega un tal
Conde de Chagny con su sobrino Raoul que da l. a. casualidad que es un amigo de los angeles
infancia de Christine. Ambos al reencontrarse se enamoran perdidamente y sueñan con huir
pero ella no puede entregarse a él porque el Ángel de los angeles Música le prohíbe unirse a
algún hombre. El fantasma de los angeles Ópera es uno de esos libros que consiguen que el
lector se interese por cosas por las que jamás había sentido atracción alguna, como en mi caso
con los angeles música clásica. Durante los primeros capítulos hay muchísimas referencias a
compositores de operetas y similares y puede ser bastante confuso si no sabes del tema pero
luego el autor The Phantom of the Opera parece que se dio cuenta de que se estaba pasando
un poco de l. a. raya y dio protagonismo al fantasma y al misterio que encarna. No he podido
evitar que me picase el gusanillo e ir a los angeles biblioteca y coger Fausto de Goethe, una
obra que se representa varias veces en l. a. novela. Y reflexionando sobre ello pienso que
Fausto tiene una doble función, por una parte pretende que el lector se familiarice con l. a.
ópera y por otra está dejando entrever lo que va a pasar. No sé, puede que sean paranoias
mías pero me da esa sensación. los angeles ambientación es opulenta, perfectamente bien
descrita hasta el último detalle. No solo delante de las cámaras —cuando se está realizando
alguna opera— sino también lo que hay detrás. Se ve el mundo del artista y el The Phantom of
the Opera mundo del ciudadano aburguesado de a pié — sorry, los angeles ópera no es pera
todos los públicos chicos—. Y también lo que hay bajo ella, los sótanos. Sobre todo esta parte, l.
a. que transcurre bajo tierra es los angeles que pienso que brilla más, más que toda esa
opulencia del mundo de ahí arriba. l. a. calidad de l. a. obra en estas escenas se quintuplica,
sin exagerar. “¿De dónde procede The Phantom of the Opera lo chic de hoy? ¡Si no baja del
cielo en las unluckily del amor, tendré que pensar que sube del infierno y que Christine, como el
maestro cantor de Ofterdingen, ha hecho un pacto con el diablo! Quien no haya oído a
Christine cantar el trío ultimate de Fausto no conoce Fausto: ¡la exaltación de los angeles voz y
los angeles The Phantom of the Opera embriaguez sagrada de un alma pura no pueden ir más
allá!” Como ya he dicho, este mundo fantasmagórico de los sótanos de los angeles ópera en el
que vive nuestro fantasma Erik, es realmente espectacular y es donde más se nota los angeles
influencia de Poe y de Doyle. El horror se va insinuando lentamente hasta que al fin aflora
completamente, pero antes de arribar, antes de que probemos l. a. miel, todo sigue un proceso,
ese proceso, esa intriga que se palpa en cada escena es lo mejor, ejecutada con brillantez. “—
Es muy difícil conseguir ser amado en una tumba— le dije.—Uno tiene las “citas” que puede—
contestó en un tono extraño” Hay diversos temas en l. a. novela pero voy a hablar del más
evidente que es que los monstruos no son siempre monstruos de alma. Erik a pesar de ser
monstruosamente feo —que en los angeles película del 2004 se disimula mucho con solo una
pequeña deformidad en l. a. parte derecha de l. a. cara— quiere ser un tipo normal. Sí, fue un
asesino, empujado en parte por esa terrible fealdad física, pero él al fin y al cabo se había
reformado y ahora deseaba una mujer y pasear los domingos por el parque. Vamos, lo que se
cube un tipo normal. Pero los angeles sociedad le empuja a que se quede en su realidad y que
deje a los cuerdos de arriba en paz. l. a. cosa no es nueva, ya Victor Hugo hizo su intento con
el jorobado, pero fallido. Leroux dijo que si París quería a un deforme lo iba a tener. Y aquí
estamos.No tengo palabras para decir lo mucho que me ha gustado el personaje de Erik. Yo de
pequeña le tenía un miedo atroz al fantasma de l. a. Ópera y me imaginaba un The Phantom of
the Opera tipo bajo tierra tocando una melodía infernal con el piano, pero descubrir el hombre
que hay tras el mito ha sido hermoso. Erik no sabe de moral, ni de educación. Él toma y da. Es
violento pero es una violencia producto de los angeles pasión. Es un hombre, ciertamente,
apasionado. Y cuando descubre a Daaé y se enamora de ella hace uso de lo que sabe, que se
basa en educar l. a. voz de su amada y luego raptarla y llevarla a su morada del Lago. Vamos,
lo típico. Dos, por favor. Con Christine tengo sentimientos encontrados. Por una parte me
parece una buena protagonista y por otra no. En realidad no entiendo muy bien los angeles
postura que tiene Christine en todo esto. Es una personality dividida entre dos mundos, su Erik
y su Raoul. Sabe perfectamente qué clase de vida le espera con Erik y cual con Raoul y
simplemente toma una decisión, pero no quiere decir que por haber elegido a uno de los dos
deje de querer al otro. Creo que ella siempre los amó a los dos por igual. Por otro lado, Raoul
me cae muy mal pero también The Phantom of the Opera es un personaje digno de análisis, sí
que me guardo mis juicios sobre él para más adelante.No hay una evolución marcada de los
personajes, o sí. Por ejemplo Christine al ultimate no se desmaya tanto como al principio del
libro, y no lo digo The Phantom of the Opera como algo gracioso o cómico puesto que
realmente es importante. Christine acepta de una manera más typical lo sobrenatural y lo
grotesco que al principio. Pasando al final, me ha gustado, el único plausible. Temía que no
fuese a aceptar lo que pasaría pero mi cerebro se ve que estaba preparado gracias a esa
primera explicación que hace Leroux antes de empezar l. a. novela donde afirma que el
fantasma existió. El epilogo ha sido de los mejores que he leído y, obviamente, tengo que dar
mi teoría de todo lo que pasó [(view spoiler)[puede que a los ojos de Dios Christine y Erik no
estuviesen casados pero hasta que ella no se desprende del anillo de compromiso, es decir, lo
pone en el dedo de Erik cuando este muere, están unidos por un vinculo, pagano, tal vez, pero
no podía ser de otra forma. Que sí, que The Phantom of the Opera al ultimate se fue con Raoul,
pero estuvo casada con Erik también (hide spoiler)]]. El libro está muy bien escrito, vamos, que
tiene gran calidad literaria, aunque eso period de intuirse. Gran riqueza descriptiva, no se hace
pesado en ningún momento y tiene sus partes cómicas. ¿Exige una lectura relajada? Sí. ¿Hay
acción? Sí. Yo os recomiendo leerlo con tranquilidad porque se disfruta más, pero haced lo que
queráis.No es un libro de terror, más bien es un gótico de principios del veinte. Hay bastantes
elementos que pertenecen a l. a. literatura gótica— atmósfera misteriosa, sentimientos
exaltados, elementos sobrenaturales, ect. — en l. a. novela y creo que es correcto meterla
dentro del género.Resumiendo, recomiendo leer este libro para iniciarse con los clásicos, y qué
mejor manera que con un personaje tan emblemático como es Erik. los angeles verdad es que
a lo mejor os puede chocar un poco que a veces los personajes pasen en solo una escena por
todos los estados de ánimo posibles pero creo que si se supera ese pequeño “defecto” puede
llegar a convertirse en uno de vuestros libros favoritos. “Era l. a. primera vez, daroga, l. a.
primera vez, ¿me oyes?, que yo besaba a una mujer…Sí, viva, l. a. besé estando viva y estaba
hermosa como una muerta” ["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]
>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["
br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>
The Phantom Of The Opera
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