The Phantom of the Opera. 30s – 40s. High baritone or tenor (with a good low range) from low A flat to high A flat. Needs a dynamic, bravura, ‘star’ performance, both frightening and irresistible.
Christine Daae. 20s. Beautiful young singer. Soprano voice that combines elements of classical and pop singing. A light, floaty soprano. She sings briefly to high E.
Raoul, Vicomte de Chagny. Late 20s – early 30s. Dashing, handsome young aristocrat. High baritone (2 octave range from A flat to A flat).
Monsieurs Firmin and André. Late 30s – 50ish. The managers of the Paris Opera House. Trying to be elegant, they are slightly befuddled and bumbling. Need good instincts for stylish comedy. Good supporting roles. Baritones; one sings to A, one to G.
Carlotta Guidicelli. 30s – early 40s. The prima donna of the Paris Opera. A diva in every sense of the word. Coloratura soprano, to high E. Requires opera training.
Madame Giry. Late 30s – early 50s. The Opera’s ballet mistress. An ominous, stern, forbidding figure. Mezzo soprano to high B flat.
Ubaldo Piangi. Late 30s – 50s. The opera’s leading tenor, Italian style singer, sings to high C. Requires opera training.
Meg Giry. Late Teens – Early 20s. A member of the Corps de Ballet. Must dance on pointe and sing mezzo soprano to G.
Don Attilo (in “Il Muto”)/Passarino (in “Don Juan Triumphant”). 30s – 40s. Bass or Bass baritone with a solid and legitimate low F. Should be a physically interesting character man with a good sense of comedy.
Wardrobe Mistress/ Confidante (in ”Il Muto”). 30s – 40s. Contralto or low mezzo. Physically interesting character woman. Short and round or tall and thin.
Monsieur Reyer. 30s – 40s. Tenor. Character role. The repetiteur (vocal coach) of the Paris Opera. An agitated, finicky, meticulous fellow. A strict disciplinarian, always on the verge of hysteria.
Monsieur Lefèvre. Late 30s – early 50s. Manager of the Paris Opera House who is handing over his position at the top of the show. Eager to be rid of the whole situation. Good instincts for stylish comedy.
[ENSEMBLE ROLES AND CHORUS]
1905: Auctioneer, 2 Porters, Bidders. 1881: Joseph Buquet, Stagehands, Madame Firmin, Policemen, Chief Fire Officer, 2 Fire Marshals, Marksman, the Ballet Chorus of the Opera Populaire*. In “Hannibal”: Princess, Slave Master*. In “Il Muto”: Fop, Two Epicene Men (a Hairdresser and Jeweller), Shepherd*. In ”Don Juan Triumphant”: Innkeepers Wife, 2 Pages.
*The dancers in The Phantom of the Opera should be strong classical dancers, not tap dancers, jazz dancers, or ‘hoofers.’ Female dancers must be under 5’6” and must be experienced, classically trained dancers. They should have a degree of innocence about them and look very young (18-25). Male dancers must be 6’0 or taller and must be classical/ballet dancers. They should have solid classical technique with a musical theater flair. They must be well built and muscular.