Whoever wrote the review regarding the film score of "The Phantom of the Opera" must have no knowledge of music whatsoever.

Background: I am a sixteen year old musician, who dreams to play in pit orchestra of “The Phantom of the Opera” when I get the chance. I have composed multiple selections of “The Phantom of the Opera” based on the movie. I have slaved over listening to the multiple recordings vs. the film (mainly Original London Cast vs. Film). I have seen it on Broadway, a revue on a cruise, and the film (obviously).

How can you say you enjoy hearing whiney Michael Crawford sound too feminine and tenor-like when he is supposed to be in the character of a lower-voiced character. How dare you say he gave an “enchanting” performance, try sucky. Personally, I believe, despite what you say, Gerard Butler gives a much more passionate performances when he includes his whispers and shouts. Do you hear any of that in Michael Crawford's performance on the Original London Cast recording, definitely not. Once again, I feel as if Michael Crawford has done nothing for me as a musician. The way that Gerard Butler comes across with his personal performance as the Phantom by shouting/singing gives us, the audience a better feel for what the Phantom is thinking. Michael Crawford, while he may hit the notes better does not show as much enthusiasm in it. I was bored listening to “The Point of No Return” and “Down Once More…Track Down This Murderer” with his unexisting usage of passion. When I became obsessed with the musical before it became a movie, I had to buy the Cast Recording, only to find out it just did not do it for me. It is also impossible to compare the two due to their differences in backgrounds and preparation for their roles as the Phantom.

When I heard the previews for the movie version, I heard the orchestra performing a portion of the Overture and was thrilled to hear just exactly what Andrew Lloyd Webber would have wanted to give to his numerous fans and audiences. While there are some cuts in songs (Ex/ one verse in "The Phantom of the Opera"..which I do in fact miss due to the lovely Oboe solo), Andrew Lloyd Weber graciously makes up for it with his additional orchestrations that have been added to the film score.

As the critique follows in chronological order of the film, I shall defend myself by following through the order of the film as well.

Yes, I do hear the difference between the London Cast and the film version by the French Horn vs. String Ensemble’s volume, but it does sound cleaner when muted a tad. French Horns are a fantastic instrument to complement the strings and it sounds better to me, as an orchestral musician, as well as cleaner.

Are you deaf? You can’t hear the pounding electric/string basses/celli/bassoons and other low winds playing their Concert D’s? The Phantom’s voice here is much more powerful than the wimp voice Sarah Brightman follows. Why is the orchestra not as greatly featured in the title song, because it was Andrew Lloyd Webber’s wish to include a larger rock/rhythm section, according to the DVD features, but then again, it seems as if you have done no research on this topic, so I guess you would not know this anyways. And a quarter of the song is missing, that’s a tad over exaggerated don’t you think? The opening to “The Music of the Night” gives it a better effect, however I can see where you argue, because it would obviously not work on the stage, unless of course you are the actress portraying Christine standing next to the Phantom. It sounds fine in the movie. And as for the cuts in “The Music of the Night”, you are wrong once again, they used other lyrics, alternate lyrics.
In “Notes”, prior to “Prima Donna”, some changes are evident here, because IT IS A MOVIE! YOU CAN DO THINGS DIFFERENTLY THAN THE STAGE VERSION. IT WOULD BE BORING IF IT WERE EXACTLY THE SAME! You also seem to bash the movie more than you do the music, so stick with music, that is if you actually know anything about music.

Don’t worry about the “Entr’acte”, it sucked in the London recording anyways. As for the Phantom’s tale, what do you know about unpleasant, obviously nothing as you think this whole album is.

Now, here is my favorite part, “The Point of No Return”…I was and still am extremely disappointed with Sarah Brightman and Michael Crawford’s performance of this. Emmy Rossum and Gerard Butler give a much more startling and passionate performance. Michael Crawford, once again sounds too feminine and high-pitched. Who would ever believe a Phantom would sound like that? Definitely not the Phantom of the Opera. Emmy Rossum, who in other words is pretty much amazing, does a fantastic job of capturing an audience, especially myself, through “The Point of No Return”. She doesn’t sound too obnoxious as Sarah Brightman does. Oh, and here’s an answer to your question regarding vocal training. HAVE YOU NOTICED THAT EMMY WAS 16 OR SO WHEN SHE RECORDED THIS? She was young and obviously needed training, so was the whole cast! Sarah Brightman, I don’t know how, established herself and went through her years of training, so give the film cast a break! Personally, the trio sounds better here than it ever has on the London Cast, when I saw it on Broadway, and saw a revue of it on a cruise. Butler, does anything but “crucify” himself in this recording. Instead he proves to everyone that he can sing and is better than any Michael Crawford, now you should bash him, instead of Gerard Butler.

You seem a little to obsessed with Crawford to write this review, it is way to bias and seems as if you came into hearing the soundtrack with poor expectations and wrote it based on what you thought based on heard. You probably never have listened to this, because if you have, you WOULD know that it is anything better than the overly praised Michael Crawford and Sarah Brightman are. If Crawford returned to play the Phantom in the movie, I think it would be awful. Gerard Butler is a much better choice and I would personally rather see this cast on Broadway than the Original London (may I mention awful) Cast.

This review was horrible and I want to hear what you all think about my personal defense.

Thank You, Bobby Lapinski