![]() ![]() Whereas Mozart's and Lorenzo da Ponte's original Don Giovanni, inspired by vice and love affairs fueled by pettiness, will only make one "weep". ![]() The Phantom remarks that she is lucky not to come to that kind of music yet, as his Don Juan "burns" with fire not from heaven and would consume anyone who came near it. Initially, when Christine sees the score and asks him to play it for her, Erik gets highly defensive and tells her never to ask him that again. At the end, it takes a rapid ascent out of misery whirling up into a triumphant and victorious flight as 'ugliness', lifted on the wings of love, dared to look 'beauty' in the face.Įrik's choice of title and use of "Don Juan" is never truly explained, so it remains subject to various interpretations. The piece, in Daaé's view, makes pain divine. As she describes it, the music takes the listener through every detail of suffering of "the ugly man," taking her into the abyss of the wretched torment and misery Erik has experienced in his life. Erik plays a section of his opera following his unmasking at the hands of Christine Daaé, who is stunned by the power of the music. At one point, he remarks that once he completes it, he will take the score into the coffin he uses for a bed and simply never wake up. In the novel The Phantom of the Opera by novelist Gaston Leroux, Don Juan Triumphant ( French: Don Juan triomphant) is an initially unfinished piece that Erik, the Phantom, has been working on for a period of over twenty years. ![]()
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