#Armand moncharmin | Explore Tumblr posts and blogs

fdelopera · 1 month ago

Text

Welcome to the 19th installment of 15 Weeks of Phantom, where I post all 68 sections of Le Fantôme de l’Opéra, as they were first printed in Le Gaulois newspaper 115 yeas ago.

In today’s installment, we have Part III of Chapter 8, “Où MM. Firmin Richard et Armand Moncharmin ont l’audace de faire représenter « Faust » dans une salle « maudite » et de l’effroyable événement qui en résulta” (“Where MM. Firmin Richard and Armand Moncharmin Have the Audacity to Have ‘Faust’ Performed in a ‘Cursed’ House and the Horrifying Event Which Thereby Ensued”).

This section was first printed on Friday, 22 October, 1909.

For anyone following along in David Coward's translation of the First Edition of Phantom of the Opera (either in paperback, or Kindle, or from another vendor -- the ISBN-13 is: 978-0199694570), the text starts in Chapter 8 at, “Moncharmin, ever a man for a joke, said, ‘Actually, quite a good house for a theatre which has a curse on it!'” and goes to Chapter 8, “But a few, who seemed slightly better informed, agreed that 'they'd kick up a storm' at the start of the ballad of the King of Thule, and hurried off to the subscribers' door to tell La Carlotta.”

Please note, however, that a large portion of this section was omitted from Leroux’s First Edition.

There are some significant differences between the Gaulois text and the First Edition. In this section, these include (highlighted in red above):

1) This section in the Gaulois was sadly cut from the First Edition:

The Persian was a living enigma who was beginning to annoy Paris. He spoke to no one. He never smiled. He seemed to love music since he attended all of the musical productions, and yet he was not enthusiastic, he did not applaud, and he never became impassioned.

Here is how M. A.D…, a former journalist who had been the Opéra’s secretary, spoke of the Persian:* “For many years, he has been sneaking his way through our Parisian lives, always alone, always silent, but loving and seeking out the crowds, displaying in broad daylight and by lamplight a stone-faced countenance and a slightly hesitant gait, and well, appearing at every performance with his perpetual attire, a Persian hat and a great, black houppelande coat,** in the sleeves of which he continuously wrings his unceasingly nervous hands.”

That evening, like every evening, our Persian was thus dressed in Persian attire; but the new Ambassador of Persia himself was dressed in the latest Parisian fashion, and there was nothing surprising about this, since he had come directly from London.

The seat occupied by the Persian was located right below the Ambassador’s box. At the close of the curtain, the Persian rose and remained standing, turning his back to the box. But certainly he would soon turn around, and the Ambassador would see him. What would he do? Would he recognize him? Was there even anyone in Persia who knew the Persian? There were those who said that he was a very important figure; well, they were going to see!

They saw nothing at all. M. Moncharmin relates in his Memoirs that the Persian appeared before the Ambassador of Persia without even acknowledging him and that there was in the demeanor of the former more aloofness and quiet disdain than usual. In this regard, M. Moncharmin writes that the Persian was one of the most handsome men that one could see, “of average height, with even features, an expressive and masculine face etched with a profound melancholy, with black eyes*** that are intense and sad, a jet black beard, and an amber colored complexion made golden by the sunlight of the Orient.” M. Moncharmin recounts that when the public’s attention turned to the Persian, one heard in the house the discrete sound of rattling keys. The spectators were wary of the “evil eye.” And he says nothing more about that incident.

When the Managers were once again alone in their box, M. Moncharmin said to M. Richard, still with a light-hearted air: (this is where the First Edition picks back up)

*NOTE: As revealed by Raj Shah in his article, “No Ordinary Skeleton" (read more about his research here), "M. A.D…" was M. Adolphe Dupeuty. He described a real incident which happened at the old Opéra Le Peletier in 1857, in which the Persian Ambassador attended a performance at which the "Persian" (Mohammed Ismaël Khan) was also present. This article was published in "La Vie parisienne à travers le XIXe siècle: Paris de 1800 à 1900 d’après les estampes et les mémoires du temps,” edited by Charles Simond.

In his “factional” style (fact+fiction), Leroux “borrowed” heavily from this article in writing his fictional account of the Persian and the Persian Ambassador. The quote from “M. A.D.” was taken verbatim from Dupeuty’s article.

**NOTE: This image below possibly depicts the outfit that Dupeuty was describing, and that Leroux copied into Le Fantôme de l'Opéra (Leroux described the Persian wearing a houppelande and an Astrakhan cap in his narrative).

This image is from Les Célébrités de la rue, by Charles Yriarte, published in 1864, a book that listed notable figures in Paris in the early to mid 1800s. It was published seven years after the incident described in Dupeuty's article, and so is reasonably contemporary with his account. It was also published during Mohammed Ismaël Khan's lifetime, as M. Khan passed away in 1868.

It is worth noting that the Opera House that M. Khan frequented was the Salle Le Peletier, which was destroyed in a fire in 1873 (five years after M. Khan's death). Two years later in 1875, the Paris Opera was moved to the newly opened Palais Garnier (aka Erik's Opera House). So, M. Khan never actually frequented the Palais Garnier, contrary to what Leroux depicts in Le Fantôme de l'Opéra.

***NOTE: Throughout the rest of the narrative, the Persian’s eyes are described as being “jade” rather than black. This was a case of internal inconsistency. In the Gaulois text of the chapter, "The Vicomte and the Persian" (as well as in the First Edition), Leroux described that the Persian had ebony skin and jade-green eyes (instead of bronze-colored skin and black eyes).

It is also worthy of note that the Persian as a character is an example of Lerouxian trope subversion. The Daroga is a foreigner and an outcast. The Parisian operagoers make no attempt at hiding their prejudice against him. And yet he is one of the heroes of Leroux’s novel, and he puts his life on the line to save the very Tout-Paris who rattle their keychains at him.

2) This sentence was cut from the First Edition:

Yes, this was the appointed replacement for the old madwoman, and with her in place, they would see if Box 5 continued to cause a sensation.

3) These paragraphs were cut from the First Edition:

None of the sounds of the sort that are heard at séances and which, as everyone knows, are generally attributed to interference from the beyond, resounded against or within the partition walls, the ceiling, or the floor; the chair upon which Richard was sitting behaved itself in the most admirable way possible, and the voice, the notorious voice, still remained silent.

The Managers were busy noting this, when the door of their box was abruptly flung open by the panic-stricken stage manager.

4) This sentence was cut from the First Edition:

They would see to this in a little while.

5) Sadly, this section in the Gaulois was cut from the First Edition, and replaced with a brief summary:

At this time, MM. Moncharmin and Richard descended from their box. The wings were already overrun. Having arrived on the stage, they headed immediately to the right, towards La Carlotta’s dressing room, whose windows overlooked the administrative courtyard. They then ran into La Sorelli, who was rushing to see the Comte de Chagny before he returned to his box.

They gestured to her, which she understood, for she straightaway left the Comte and came over to the two Managers who begged her to discretely ask the Comte about what might be the basis of the rumors of a cabal organized against La Carlotta.

While they awaited La Sorelli’s reply, they entered La Carlotta’s dressing room. The room was full of friends and comrades, and high above all the various conversations, one could hear the singer’s voice, which proclaimed a thousand threats against La Daaé.

Of Spanish origin, La Carlotta had retained an accent of a very particular flavor, and when some excessive emotion, like anger, hurried her speech, she expressed herself in such a way that it was difficult for those listening to refrain from smiling. And so despite the gravity of the situation, there were many smiles that evening in La Carlotta’s dressing room.

The two Managers approached the singer, who was in the process of placing upon her magnificent tresses, blacker than the night, another no less magnificent coiffure, paler blonde than the dawn’s first light. It was the wig with two thick plaits worn by the gentle Marguerite. The twinkling of La Carlotta’s jet black eyes stood out even more within this golden frame. She rose when she saw “these gentlemen,” and placing a hand upon her heart, she professed her sincerest feelings to the new management so passionately that certainly MM. Moncharmin and Richard would have been moved to tears if they had been able to understand a word of that astounding gibberish. Finally, she handed them a piece of paper whose writing in red ink had the effect of thoroughly commanding the interest of the two Managers. They had no difficulty recognizing it.

6) Minor differences in punctuation and capitalization.

Click here to see the entire edition of Le Gaulois from 22 October, 1909. This link brings you to page 3 of the newspaper — Le Fantôme is at the bottom of the page in the feuilleton section. Click on the arrow buttons at the bottom of the screen to turn the pages of the newspaper, and click on the Zoom button at the bottom left to magnify the text.

#phantom of the opera #poto #gaston leroux #le fantôme de l’opéra #le gaulois #mohammed ismaël khan #phantom translation #15 weeks of phantom #phantom 115th anniversary

32 notes · View notes

night-unfurls-its-splendour · 1 year ago

Text

Susan Kay's 'Phantom' Read: Part V (Erik, 1856-1881)

Before we start I feel that I need to talk about a perspective shift that I've had. More than half-way through the book now with the completion of this episode I've come to a realization.

Phantom is not what I thought it was. This epiphany has been slowly dawning but here we are.

My impression of Phantom, based on how I have seen it talked about in the Phandom (and certainly how the reviews on the back of the book present it) was that it was Leroux's story but with the blanks filled in and a few small liberties taken.

I had this impression because I was told that for quite a few years, Phantom was basically considered Canon and also because I have often seen Kayrik (or Kerik) and Lerik (or Leroux's Erik) conflated in discussions.

But as I'm reading I have finally realised that I don't think this is ever what Kay intended.

Don't get me wrong I hate most of the decisions she's made, but this book is a complete re-working of the source material with many elements of the book, some from the musical and some original folded in. For Erik's history she mainly follows the life-history detailed by Leroux, but in terms of Erik as a character, he more closely resembles Musical!Erik than anything (except that Kayrik's deformity affects his entire face, not just half). When we arrive at the Opera, she again adheres to Leroux's history. But once we catch up to the canon events, this time line is swiftly abandoned.

Nadir and Erik bump into each other and resume their friendship.

A few weeks later, Erik finds Joseph Buquet's body in his torture chamber.

A few weeks after that Erik hears the news of the Opera's change in management, and hears Christine sing for the first time.

In the source material, Buquet's body is discovered on the same night as Christine's initial triumph (so three months AFTER Erik began to teach her), the same night that the old managers, Debienne and Poligny, have their farewell celebrations and hand over management to Firmin Richard and Armand Moncharmin. Leroux describes Raoul rushing across the stage, "On which Christine Daae has just triumphed, and under which Joseph Buquet had just died." [This excluded from the original translation.

Why Kay chose to alter the progression of events I don't know, but that combined with a final nail in this coffin for me to realise that I had been approaching this book from entirely the wrong perspective. That final nail is the fact that Christine Daaé, in this book, is dark- haired and not blonde.

Kay does what most Phan-author's do: she cherrypicks her preferred elements from both book and musical (Erik general erudite comportment, his mis-matched eyes, Christine's dark hair) and combines them with her own headcanons to create an AU fic that, because of the reclusive nature of Fanfiction at the time and the fact that this work was published and widely circulated, became, for many fans not interested filling in the blanks themselves, erroneously synonymous with actual canon for a goodly number of years, despite its open contradictions to the source material.

Does that mean I like it any better? Haha fuck no. My irritation with Kay's choices persists. It's just that my ire for this book's influence is more accurately directed at the Phandom at large for making it something of a Golden Calf.

And like the Biblical Golden Calf I am here to pound it into dust and make everyone drink it.

So at this point I was going to complain that Kay never made mention of Erik being Christened "the trap-door lover" in Persia. There's even a CHAPTER of Leroux's novel called "The Masterstroke of the Trap-Door Lover". And this didn't come up even ONCE in Nadir's narrative. In fact the Persian and Leroux's narrator both talk about how Erik "rigged the palaces". Which is to say he made alterations to existing buildings and "turned the most honest construction in the world into a demonic house where one could not speak a word without being watched, or betrayed by an echo. How many family quarrels, how many bloody tragedies had the monster left in his wake with his trap doors?"

In Kay's narrative, Erik doesn't alter any existing palaces, he only constructs the Trick Box inspired palace described in Leroux's epilogue and his love of trap doors? Apparently it just isn't a thing.

Moving on

So of course we have to come back around to his mother. That was inevitable and I do actually appreciate it because we know Erik's furniture in the lair was his mother's.

The part where he views his mother's body is... eighhhhhh.

Erik describes the ravages of time in Madeleine's face and also the ravages of death. He talks about the irony that there's actually some resemblance between them now. And we get... this

And as I looked at her, I suddenly understood her revulsion at last--because now I shared it!

I felt no anger or grief as I looked down upon her . . . nothing except a disgust which enabled me to forgive any act of cruelty that she had ever shown me.

[...]

I did not kiss her, now that I had the opportunity.

I knew that she would not have wished it.

And I no longer felt any desire to do so.

I'm deeply confused as to what Kay is trying to convey here. Is Erik really saying that he doesn't want to kiss his mother because death has made her ugly? He goes on a lot about how death is gross and ugly and like... you just found out that your mom never re-married after you left. Never left the house she raised you in.

The misogyny REALLY steps up to the foreground here as well. He says of his mother's friend, Marie Perrault (the only person in this entire book with any rights imho)

This nervous, anxious, well-meaning lady had taught me to respect all members of the weaker sex.

Which, simply by calling them the "weaker sex"... you clearly don't? And after proclaiming is respect for ALL MEMBERS of the weaker sex, in the NEXT sentence he puts in a caveat about how he's never harmed an innocent woman, and also says something about the Khanom that really made me very, very queasy, and also reinforced my squicky suspicions about why Kay chose to make the cruel and capricious female figure in Persia an older woman (a domineering mother) rather than Leroux's "Little Sultana".

Very annoyed how Kay has graduated Erik's voice from "Automatic Aphrodisiac" to "Literally indistinguishable from Jedi Mind Tricks".

Erik regails us with how, using only his voice he is able to "reduce certain men to a trance-like state of obedience" (once exhibited on Nadir and his son Reza). When he meets Nadir again in Paris we are treated to this observation:

"Do you understand, Nadir? Keep away!"

His hand slid him it carriage door and he stood back with a trance-like obedience. He made no effort to prevent the brougham moving away, but although I knew my secret was safe for tonight, I felt no sense of complacency.

Once before he had broken free of my control, torn down the swaddling cocoon of sound with which I had bound him. Unlike Jules [Erik's lackey], he was not a natural subject; his will was too strong, his sense of identity and purpose too well developed.

Whenever he chose to fight my voice, I knew I would be unable to hold him.

That's a Jedi Mind trick. I'm sorry it is.

This section is actually quite enjoyable where the building of the opera house is concerned, but it takes a downturn, both in terms of the story and just the quality of the writing.

There are two instances of redundancy.

His death excited little excitement.

"My old interest in divination had never left me, and from time to time I still consulted the tarot cards in desultory fashion. It had been a long while since they had revealed anything significant, but now of late, each time I picked a card at random I seemed to turn up Death...

And this latter example leads me to something that really made me want to throw the book.

Since Nadir's narrative I have looked askance at something that has come up repeatedly: Susan Kay goes to GREAT LENGTHS to ensure that the readers know that Nadir I 100% straight. NO HOMO HERE, DEAR READER. ABSOLUTELY NOT. She shoehorns in a dead wife that Nadir never got over losing, and went into unnecessary detail about how when Nadir feels "the itch of manhood" (🤮🤮🤮🤮🤮) he avails himself of a prostitute or an odalisque. It comes up SEVERAL times. And when Nadir pops back up in Paris she makes sure to tell us that he has a mistress that he sees regularly. All of this to bring us to THIS infuriating line:

And so even as I walked with Nadir, talked with him, rejoiced in the warmth of communicating directly once more with a human soul, there was a part of me that looked at him with suspicion and wondered what part fate had assigned him in this new, unrehearsed opera.

Not the Lover, that was for certain. I'd seen enough girls leaving his apartments in Persia to be reassured that all of his instincts were purely heterosexual."

I'm not generally into gay readings of PotO. I don't ship Erik with either Raoul or with The Persian. But I will say that if there is an argument to be made for anyone in this book being anything less than 100% heterosexual, it's The Persian. Leroux makes no mention of him having a wife or anything of the sort. Tie that in with the determined responsibility and complex bond he seems to hold with Erik and a case can be made for our dear Daroga feeling something rather more than just sympathy for Erik. (I don't personally subscribe to this, but the case can certainly be made--I'm more of a DaRaoul girl tbh. I think that's an untapped gold mine).

But not here. Kay bends so far backwards as to have Erik say outright "Nadir is defo straight", while (even more bafflingly) implying that, perhaps, Erik is not. WHY, SUSAN. WHY?

Christine’s introduction is the single most "reads like Fanfiction (derogatory)" thing I've read in this book so far, but I find it very interesting how, when Christine sings for the first time Erik says that she "possesses a near perfect instrument". He says her technique is faultless, and that there's no weakness in either register. My first problem is that Leroux's Erik only ever calls Carlotta's voice an "instrument", because that's all it is to Carlotta. My second is that, according to Christine, her lower register was muffled and her upper register was shrill and her middle register wanted clarity. Maybe that's just Christine being too critical of herself, but I doubt that she had "flawless technique" when Erik began teaching her. Incredible latent talent for sure, but I do believe that she needed help with technique as well as motivation to reignite her passion.

Lastly we have Erik's description of when he first sings to Christine. His narrative regarding his motivation is actually very similar to my own:

She wanted an Angel of Music--an angel who would make her believe in herself at last.

[...] There was no reason in the world why I could not be the Angel of Music to Christine. I couldn't hope to be a man to her, I couldn't ever be a real, breathing, living man waking at her side and reaching out for her. . . .

But I could be her angel.

Is his motive here altruistic? No. But the sentiment is sweet enough. The notion of inspiring Christine's self-confidence is present.

Pity then that he takes a sharp left turn in the very next paragraph and utterly compromises any positivity in his intent.

I could not steal her body--but I could steal her voice and weld it irretrievably with mine; I could take it, and mold it, and make it mine forever...

Softly at first, infinitely softly I began to sing an old, heathen, Romany song. The Hollowed bricks carried the haunting melody relentlessly to her, permitted my voice to envelop her gently like a poisonous mist, seeping inexorably into her mind and staining her soul with darkness.

Well, well.

Once more unto the breach I go...

Masterpost

#phantom of the opera #poto #commentary on 'phantom'#susan kay phantom #phantom susan kay

66 notes · View notes

memoirsofamanager · 5 days ago

Note

Whatever happened to monsieur Armand Moncharmin?

Oh, I'm not sure who this fellow you speak of is, but he's got quite a fetching name! I'm sure he's quite dashing.

#note: see it's funny because–#the question box #how can i help you?#poto rp #phantom of the opera rp #rp blog #gilles andre

3 notes · View notes

lot666achandelierinpieces · 11 months ago

Text

Merry Christmas and Happy Holidays to all fans of the enigmatic world of "The Phantom of the Opera"

We are excited to present the first chapter of "Zariya Hollow - A Horror Anthology: Episode 13 - "The Ghost in The Opera House". This project, a labor of love spanning nine years, has been made possible in collaboration with phantomstheater.weebly.com. We extend our heartfelt thanks to Phantomstheater for providing access to their translation of the original Le Gaulois newspaper publication of Gaston Leroux's "Le Fantôme de l'Opéra", along with the comprehensive appendix. Discover more and stay updated at phantomstheater.weebly.com/Zariya-Hollow.

Zariya Hollow: Season 1, Episode 13 - "The Ghost In The Opera House" (Chapter 1)

In the gripping season finale opener, "The Ghost In The Opera House," we step into the mysterious corridors of Paris's famed Opera House, led by the enigmatic voice of Gaston Leroux. His narration not only brings the grand architecture to life but also whispers of the secrets and ghostly enigmas hidden within its walls.

This episode is a defining moment in the Opera House's chronicles, capturing the significant transfer of leadership from the old directors, Messieurs Debienne and Poligny, to the new custodians, Armand Moncharmin and Firmin Richard. The handover of the small master keys isn't merely a formal procedure; it signifies the dawn of a new era, riddled with unexpected challenges and eerie tales of a phantom lurking in the shadows.

As we navigate through Leroux's vividly painted scenes, we explore the Opera House's majestic underbelly, where the new directors grapple with the daunting rumors of a spectral inhabitant. Parallel to this, in the serene town of Perros-Guirec, another story starts to unfurl, intricately linking to the opera's own enigmatic saga.

Leroux's masterful storytelling skillfully blends reality with legend, weaving a narrative that captivates and haunts in equal measure. "The Ghost In The Opera House" is more than a tale of unspoken love and ghostly presence; it's an expedition into a realm where every hidden corner and echoing note tells its own story. As the tale progresses, Leroux sets the stage for a finale that is set to be as unforgettable as the legend of the Paris Opera House itself.

Tune in to this mesmerizing journey at anchor.fm/zariyahollow/episodes/Zariya-Hollow-S1Ep13--The-Ghost-In-The-Opera-House-Chapter-1-e2dlke1.

13 notes · View notes