The Angel of Music
~⚜~
l’Ange de la musique
Many over the years have tried to figure out exactly where the idea of the angel of music came from. In the Danish language they speak of an Angel of music or 'musikkens engel' outside of anything to do with the Phantom of the Opera. At least figuratively like mentioned in the artificial "Anders Eliasson og Musikkens Engel" Where it states "he rather speaks of his respect for the 'musikkens engel/angel of music', i.e. the difference between the explainable and inexplicable in the music." He is spoken about along side other angels and even called by the name Israfel, Sandalfon and Uriel. In Islamic culters Israfel gave the title of Metatron or Shemiel "The lord of heavenly music." He is called the angel of creativity, art and music for he encourages people to exercise their creative force.
There are some phans who have tried to claim the angel of music comes from a poem called Et Fjeldvand /Mountain water which doesn't mention an angel of music or really anything like that. Andreas Munch a Norwegian poet was the orginal author of Little Lotte. It came from a collection of Scandinavia Poetry he and Jean-Louis Runeberg wrote called 'Le roi Fialar' or 'King Fialar' is the tale of the king on the mountain lake. Leroux’s source was actually from a French prose translated by Hippolyte Valmore, Garnier frères, 1879, cycle des Récits de l’enseigne Stal/Stal's Storytelling Cycle «Den første Sorg» or "The First Sarrow" (ref Anea aka Operafantomet), however there is no mention of the angel of music that Father Daaé spoke of either. In fact Leroux added the Angel of Music to the end of the orginal poem by Munch. You can see the comparison Here
There are some phans who have tried to claim the angel of music comes from a poem called Et Fjeldvand /Mountain water which doesn't mention an angel of music or really anything like that. Andreas Munch a Norwegian poet was the orginal author of Little Lotte. It came from a collection of Scandinavia Poetry he and Jean-Louis Runeberg wrote called 'Le roi Fialar' or 'King Fialar' is the tale of the king on the mountain lake. Leroux’s source was actually from a French prose translated by Hippolyte Valmore, Garnier frères, 1879, cycle des Récits de l’enseigne Stal/Stal's Storytelling Cycle «Den første Sorg» or "The First Sarrow" (ref Anea aka Operafantomet), however there is no mention of the angel of music that Father Daaé spoke of either. In fact Leroux added the Angel of Music to the end of the orginal poem by Munch. You can see the comparison Here
Heroppe konstaterer videnskabens engel Metatron og musikkens engel Israfel, at det nu er en trøst at vide, at de menneskelige sangere overgår ethvert ...
~(Dansk litteraturs historie: edited by Klaus P. Mortensen, May Schack, 1960-2000) |
Up here, angel of science Metatron and the angel of music Israfel note that it is now a comfort to know that the human singers surpass all ... (surpass all the choir of angels)
~(History of Danish Literature: edited by Klaus P. Mortensen, May Schack, 1960-2000) |
| Her Good Genius | Little Lotte & The First Sorrow | Human Influences |
| Angel Israfel | Angel Sandalfon | Angel Uriel | The Angel of Music is Female |
| The Nøkken, White horse & The Fossegrim Water spirit | The Sirène |
| Russian Sirènes |
| Angel Israfel | Angel Sandalfon | Angel Uriel | The Angel of Music is Female |
| The Nøkken, White horse & The Fossegrim Water spirit | The Sirène |
| Russian Sirènes |
Uriel
Who names means "Light of God" is known more in the Russian Orthodox traditions. He is a Seraphim who's job is to sing continually the song of creation, Archangel or Repentance and Salvation. Sometimes he is known as the Angel of Music as well as prophecy, art, science, wisdom, writing, teachers and poetry. He is considered the patron saint of scholar, artists and musicians.
In Arab cultures the angel who blows the trumpet before Armagedon is Israfel and he is sometimes depicted as the angel of music. He's also considered the angel of resurrection. He is sometimes likened to the Judeo-Christian archangel Raphael, as well as Uriel, Sarafiel (Angel of Death). He is described as being very tall and a beautiful angel who is a master of music, he sings praises to God in a thousand different languages, the breath of which is used to inject life into hosts of angels who add to the songs themselves.
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"And the trumpet shall be blown, so all those that are in the heavens and all those that are in the earth shall swoon, except him whom Allah will ; then it shall be blown again, then they shall stand up awaiting."
— Quran, 39.68. "The entire house, went mad, leaping to their feet, excitedly screaming, the room was filled with unimaginable emotion and thousands of ovations, while Christine sobbed and fainted in the arms of her coactor. He had to carry her to her dressing. It had seemed as though she had died.
~A New Marguerite |
Israfel
by
Edgar Allan Poe
by
Edgar Allan Poe
The angel Israfel, from Islamic faith, whose heart-strings are a lute, and who has the sweetest voice of all God’s creatures. —KORAN
In Heaven a spirit doth dwell
“Whose heart-strings are a lute”;
None sing so wildly well
As the angel Israfel,
And the giddy stars (so legends tell),
Ceasing their hymns, attend the spell
Of his voice, all mute.
Tottering above
In her highest noon,
The enamoured moon
Blushes with love,
While, to listen, the red levin
(With the rapid Pleiads, even,
Which were seven,)
Pauses in Heaven.
And they say (the starry choir
And the other listening things)
That Israfeli’s fire
Is owing to that lyre
By which he sits and sings—
The trembling living wire
Of those unusual strings.
But the skies that angel trod,
Where deep thoughts are a duty,
Where Love’s a grown-up God,
Where the Houri glances are
Imbued with all the beauty
Which we worship in a star.
Therefore, thou art not wrong,
Israfeli, who despisest
An unimpassioned song;
To thee the laurels belong,
Best bard, because the wisest!
Merrily live, and long!
The ecstasies above
With thy burning measures suit—
Thy grief, thy joy, thy hate, thy love,
With the fervour of thy lute--
Well may the stars be mute!
Yes, Heaven is thine; but this
Is a world of sweets and sours;
Our flowers are merely—flowers,
And the shadow of thy perfect bliss
Is the sunshine of ours.
If I could dwell
Where Israfel
Hath dwelt, and he where I,
He might not sing so wildly well
A mortal melody,
While a bolder note than this might swell
From my lyre within the sky.
In Heaven a spirit doth dwell
“Whose heart-strings are a lute”;
None sing so wildly well
As the angel Israfel,
And the giddy stars (so legends tell),
Ceasing their hymns, attend the spell
Of his voice, all mute.
Tottering above
In her highest noon,
The enamoured moon
Blushes with love,
While, to listen, the red levin
(With the rapid Pleiads, even,
Which were seven,)
Pauses in Heaven.
And they say (the starry choir
And the other listening things)
That Israfeli’s fire
Is owing to that lyre
By which he sits and sings—
The trembling living wire
Of those unusual strings.
But the skies that angel trod,
Where deep thoughts are a duty,
Where Love’s a grown-up God,
Where the Houri glances are
Imbued with all the beauty
Which we worship in a star.
Therefore, thou art not wrong,
Israfeli, who despisest
An unimpassioned song;
To thee the laurels belong,
Best bard, because the wisest!
Merrily live, and long!
The ecstasies above
With thy burning measures suit—
Thy grief, thy joy, thy hate, thy love,
With the fervour of thy lute--
Well may the stars be mute!
Yes, Heaven is thine; but this
Is a world of sweets and sours;
Our flowers are merely—flowers,
And the shadow of thy perfect bliss
Is the sunshine of ours.
If I could dwell
Where Israfel
Hath dwelt, and he where I,
He might not sing so wildly well
A mortal melody,
While a bolder note than this might swell
From my lyre within the sky.
Sandalfon/סָנְדַלְפוֹן
Sandelphin/سینڈلفن, Sandalfón /Σανδαλφών, Sandalphon/Сандалфон
The Angel of Music
The angel Sandalfon or Sandalphon which is co-brother or twin brother to Metatron, sometimes the female aspect of Metatron or female in general, who is the only other Angel who shares the 'on' ending instead of 'el'. Sandalfon is also sometimes considered the same angel as Israfil who is also said to be exceedingly tall. He is known as the Angel of Music. He is considered the patron of Music and Musicians. He is said to inspire the beauty of musical compositions, helps people on earth who use music to communicate with God, He also conducts the heavenly orchestras and choirs in heaven. He is described as being very tall, great of energy, and being the guardian angel of music, whose nature has remains unchanged. He is the fiercest fire. The color red is associated with him because it is said to be the color of his aura. He is known to appear in prophetic dreams. People can call upon Sandalfon to bring their prayers and songs of praise to God, and to learn how to use their God-given talents to make the world a better place. He is associated with sacred animals and protector of unborn children. He is also known to carry on a ceaseless battles with Samael or Satan. (ref translated from Urdu texts)
Little Lotte
&
the Angel of Music
&
the Angel of Music
From the Phantom of the Opera
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"The First Sorrow" from the French translation. (Le roi Fialar)
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"Little Lotte thought of everything and thought of nothing. A summer bird, she hovered in the golden rays of the sun, bearing on her blonde curls her spring crown. Her soul was as clear, as blue as her eyes. She cuddled her mother, was faithful to her doll, took great care of her dress, her red shoes and her violin, but above all she loved to hear the Angel of Music as she fell asleep."
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Little Lotte thought of everything and thought of nothing. A summer bird, she hovered in the golden rays of the sun, wearing her spring crown on her blond curls. Her soul was as clear as her blue eyes. She cuddled her mother, was faithful to her doll, took great care of her dress and red shoes; but above all she loved a little bird that her father had taken from the snow at Christmas.
read more link |
The King Daughter's Bridal Cruise
It is possibly inspired by "Kongedatterens Brudefart" or "The King Daughter's Bridal Cruise" by Andreas Munch, which is a story about the King Håkons who asked his daughter, whose name is ironically Kristina, to a choose one of the princes of Spain to marry. The poem is the journey to meet them from Tønsberg through Europe to Spain She gets on a ship however it gets into a violent storm and Kristina begins to pray for help. A bard, or Troubadour named Aimerik, who is Don Felipe in disguised wins the love of the virgin Kristina by singing and praying for their safety, the ship sales safely towards Spain. They reach land and while riding on horse back from monastery to monastery Aimerik plays and sings for her on his sitar. They are assaulted by robbers, Kristina is rescued by Aimerik, and they seek refuge in a cave. He confesses his love for her and she places a kiss on his forehead, but alas she must marry one of the princes of Spain. When she reaches the court of Spain she has to choose one of the brothers, when another comes rushing in, it’s Aimerik the bard but it’s revealed in truth it was Don Philip the King’s youngest brother. She chooses Don Philip and the two are wed. It’s a romanticized version of real life events about the Norwegian and Spanish medieval history. It’s about the marriage treaty, signed between a Norwegian king’s daughter and a Spanish royal brother on March 31, 1258. The King’s name was Håkon Håkonsons and his wife Margrete Skulesdatter their second child was Kristina she was born in Bergen in the winter of 1234.
If you wish to read the full "The King Daughter's Bridal Cruise" link
If you wish to read the full "The King Daughter's Bridal Cruise" link
Legends of the North Country
An other possible is "Légendes des pays du Nord" or "Legends of the North Country" by Elias Lönnrot from Karelian a Finnish oral folklore and mythology that was told orally. Where the main character is the bard named Väinämöinen, a magician who plays the kantele, the Finnish string instrument. (Christine does describe the angel of music playing an odd instrament that she did not recognize.) He is the son of Ilmatar, the goddess of Air and the mother of Water. It begins with a creation story, where the sky, the Earth, the Sun and the Moon are born from duck eggs which are placed on Ilmatar's knee and he brakes it. Väinämöinen appears from the first song. At any rate it is very clear Leroux got a good deal of the mythology surrounding Christine and her father from the works of Andreas Munch.
Scandinavian's were quite fond of mixing Christianity with their old folk tails that has been preserved in song. So it's not hard to see with being raised a Catholic and growing up steeped in fairytales about all these creature how one could easily come up with an Angel of Music.
Scandinavian's were quite fond of mixing Christianity with their old folk tails that has been preserved in song. So it's not hard to see with being raised a Catholic and growing up steeped in fairytales about all these creature how one could easily come up with an Angel of Music.
The Nøkken
I wonder if by chance Leroux pulled some mythos from the Nøkken (Norwegian), Nykur (Faroese), Näck (Swedish), Nykr (Old Icelandic) and Neck or Nix (English). The Nøkken is the name for a certain type of water spirit that is a shape shifter, however it commonly takes on the form of a handsome male water spirit, who lives at the bottom of lakes, rivers and streams. But they do frequently come up to dry land and they play an enchanted violin making seductive music in order to lure women and young girls to their watery deaths. This happened quite commonly on Christmas or Midsummer’s eve. But they were not always malevolent. In Scandinavian language water lilies are known as the nix-rose. Nøkken's always lives near water or else they become unhappy.
One story is about a Nøkken that falls in love with a human and goes to live with her, but he leaves and returns to the water for which It yearns to be near. The Nøkken will teach his enchanting forms of music, you can even bribe them with three drops of animal's blood, a black animal, wet snuf, or some Brännvin (Scandinavian vodka) dropped into the water. If for whatever reason you are attacked by one, you say their name they will die immediately upon hearing it, in some cases they can loose all their powers. They were said to be harmless to the listeners of their music and attracted not only women and children, but men as well with their sweet songs.
The Nøkken would warn of drowning accidents. He would scream at a particular spot in a lake or river much like a loon bird does, and later a drowning would take place. They were also said to cause drownings, but one could ward themselves by throwing a bit of steel into the water.
In the later Romantic folklore of the 19th century, the Nøkk sings about his loneliness and his longing for salvation, which he purportedly never shall receive, as he is not "a child of God". A tale from the forest of Tiveden tells of a father who promised his daughter to a Nøkken who offered him great amounts of fish in a time of need. The girl refused and stabbed herself to death, staining the water lilies red from then on. Grimm states they can appear human, but have the barest hint of animal features: the nix had "a slit ear", and the Nixie "a wet skirt". Grimm thinks these could symbolize they are "higher beings" who could shapeshift to animal form. Hans Christian Andersen, wrote a one act Opera The Nix (Nøkken) that premired at the Royal Theatre 1853, however it didn't do very well and closed after only 7 performances, claimg it was far too dark of a retalling of the ledegen of the Nøkken.
One story is about a Nøkken that falls in love with a human and goes to live with her, but he leaves and returns to the water for which It yearns to be near. The Nøkken will teach his enchanting forms of music, you can even bribe them with three drops of animal's blood, a black animal, wet snuf, or some Brännvin (Scandinavian vodka) dropped into the water. If for whatever reason you are attacked by one, you say their name they will die immediately upon hearing it, in some cases they can loose all their powers. They were said to be harmless to the listeners of their music and attracted not only women and children, but men as well with their sweet songs.
The Nøkken would warn of drowning accidents. He would scream at a particular spot in a lake or river much like a loon bird does, and later a drowning would take place. They were also said to cause drownings, but one could ward themselves by throwing a bit of steel into the water.
In the later Romantic folklore of the 19th century, the Nøkk sings about his loneliness and his longing for salvation, which he purportedly never shall receive, as he is not "a child of God". A tale from the forest of Tiveden tells of a father who promised his daughter to a Nøkken who offered him great amounts of fish in a time of need. The girl refused and stabbed herself to death, staining the water lilies red from then on. Grimm states they can appear human, but have the barest hint of animal features: the nix had "a slit ear", and the Nixie "a wet skirt". Grimm thinks these could symbolize they are "higher beings" who could shapeshift to animal form. Hans Christian Andersen, wrote a one act Opera The Nix (Nøkken) that premired at the Royal Theatre 1853, however it didn't do very well and closed after only 7 performances, claimg it was far too dark of a retalling of the ledegen of the Nøkken.
At the lake of Fagertärn, there was once a poor fisherman who had a beautiful daughter. The small lake gave little fish and the fisherman had difficulties providing for his little family. One day, as the fisherman was fishing in his little dugout of oak, he met the Nøkken, who offered him great catches of fish on the condition that the fisherman gave him his beautiful daughter the day she was eighteen years old. The desperate fisherman agreed and promised the Nøkken his daughter. The day the girl was eighteen she went down to the shore to meet the Nøkken. The Nøkken gladly asked her to walk down to his watery abode, but the girl took forth a knife and said that he would never have her alive, then stuck the knife into her heart and fell down into the lake, dead. Then, her blood colored the water lilies red, and from that day the water lilies of some of the lake's forests are red.
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Bäckahäst, The White Horse
The Nøkken have been known to take the form of a bäckahäst or bækhest "brook horse" as it's translated in English, similar to the Scottish Kelpie. Described as a majestic white horse that would appear near rivers. He would lure someone to stroke him by appearing as a very tame, kind, and beautiful white horse, but once you touch his tail, you are attached to him forever, he will never let you go and drags you back to his home at the bottom of the lake. If the Nøkken hear their name called he loses all his enchanting powers.
Reminds me of César the white horse from The Prophète
The very first translation of La Fantôme de l'Opéra which was done in Spanish El Fantasa De «La Ópera» in 1910 one of the illustrations struck a cord with me. Shown below.
Reminds me of César the white horse from The Prophète
The very first translation of La Fantôme de l'Opéra which was done in Spanish El Fantasa De «La Ópera» in 1910 one of the illustrations struck a cord with me. Shown below.
Of course this all echoes Erik and the Siren in the underground lake Averne. The Greek Siren who plays enchanting music and sings to lured nearby sailors to crash their ships upon the rocks. The German Nix, Nixe and Nixie are types of river mermen and mermaids who lure men to drown, like the Scandinavian type, akin to the Celtic Melusine and of course the Greek Siren.
The Fossegrim
The Fossegrim or Grim in Norwegian, Strömkarl in Swedish, is a related to the Nøkken and if properly approached, will teach a musician to play so adeptly "that the trees dance and waterfalls stop at his music". They are a water spirit or a troll in Scandinavian folklore who plays the fiddle, especially the Hardanger fiddle.
The Sirène
The etymology of the word Siren suggested by Robert S. P. Beekes might be Pre-Greek origin with the possible meaning of seirá/σειρά "rope, cord"and eírō/εἴρω "to tie, join, fasten", meaning "binder, entangle" or in other words one who binds or entangles through magic song. Unlike the Norwegian Nøkken, the Greek Siren was female and said to be a combination of women and bird. They would play a variety of musical instruments, especially harps and lyres and they would subduing and entrance with their music. The first-century Roman historian Pliny the Elder discounted Sirens as pure fable, "although Dinon, the father of Clearchus, a celebrated writer, asserts that they exist in India, and that they charm men by their song, and, having first lulled them to sleep, tear them to pieces.
Argonautica
3rd CBC Jason had been warned by Chiron that Orpheus would be necessary in his journey. When Orpheus heard their voices, he drew out his lyre, a gift from Apollo and played his music more beautifully than they, drowning out their voices. One of the crew, however, overheard Argonaut Butes, heard the song and leapt into the sea, but he was caught up and carried safely away by the goddess Aphrodite. |
The Sirens were called the Muses of the underworld, which in the context of Leroux makes since. "'they proclaimed the laws of Hades' Their song, though irresistibly sweet, was no less sad than sweet, and lapped both body and soul in a fatal lethargy, the forerunner of death and corruption." ~(The Nineteenth Century Vol. 14, Sirens, Walter Copland Perry a scholar, 1883) languishing is a word Leroux uses in reference to the Angel of Music singing.
"I listened ... and the voice than sang to me, unfamiliar pieces ... and I heard music like nothing I had ever heard before. It caused in me an unusual feeling, a sweet euphoria washed over me, a kind of languishing. The soft music lifted my soul, soothed it as it wrapped it in sound, and I was brought to the threshold of dreams. That is when I fell asleep.”~ Apollo's Lyre (PT translation from Phantom of the Opera)
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"Because that is where his strong hold is ... I myself have never been able to touch land on the other shore! ... on the shore where the house sits! ... We must cross the lake first ... and it is well guarded! ... I'm afraid more then one of those - old machinists, or old door-lockers, - who were never seen again, simply tried to cross the lake... It's dreadful... I almost died myself... If the monster hadn't recognized me in time!... A word of advice, monsieur, never go near the lake... And above all, cover your ears if you hear the Voice under water, the Voice of the Sirène."! ~ In the Cellars of the Opera
"In the eyes of the Persian, he felt this explanation was enough to explain the discovery of the corpse of the count on the shore of the lake; where the Sirène sings, Érik’s Sirène, who keeps watch over the lake of Death." ~ The End of the Ghost’s Love Story |
Alkonost and Gamayun
Oddly the Russian Sirin/Сирин looks more like an angel and less like a man eater either wearing a halo or crown to show their closeness to heaven. Sometimes Sirins are seen as a metaphor for God's word going into the soul of a man. They sing beautiful songs to the saints, foretelling joys of the future. For mortals, they are more dangerous. Men who heard them would forget everything, follow them, and ultimately die.
Both the Alkonost and the Gamayun are significant archangels in paradise. The Bird Maiden of Pagan Russian evolved into the Russian Orthodox Church as the Bird of Paradise.
Both the Alkonost and the Gamayun are significant archangels in paradise. The Bird Maiden of Pagan Russian evolved into the Russian Orthodox Church as the Bird of Paradise.
Alkonos
Alkonos is a creature of the dawn. The Alkonos exudes beauty and is docile, contently flies around singing with a voice both exquisite and hypnotizing. To all that hear her she mentally immobilizes them until they ignore everything in order just to hear her delightful voice. The Alkonos is considered to be a personification of God’s will in the Russian Orthodox Church. The name Alkonost came from a Greek goddess Alcyone. In Greek mythology, she was transformed by the gods into a kingfisher.
Gamayun
Gamayun (Sirin) is like the Alkonos and is one of the heavens. essentially a messenger for peace that sings beautiful melodies. In Russia she is considered to be prophetic as she is aware of everything that occurs within the world, and she knows all amongst the gods and heroes. She lives on an island in the East near the Euphrates River or Eden. She is permanently alone knowing the secret fate of humans and the world.
Morgens or Mari-Morgans
Are Breton and Welsh water spirits who drowned men. The Breton version they lured young men with their hypnotic voice. The Mari-morgans were said to be very skilled in evil spells, and those who were not seduced would drag men under the water never to be heard or or seen again and live near the coast in caves and mouths of rivers. Lower Britain tales stated Sailors would fallow them to their underwater palaces of mother-of-pearl and crystal were they would marry the Mari-morgans, lacking for nothing they had many children and settled so well in their underwater existence that they would completely forgot their earthly existence.
ref http://lusile17.centerblog.net/39904-les-peuples-de-eau-les-mari-morgan
ref http://lusile17.centerblog.net/39904-les-peuples-de-eau-les-mari-morgan
Human Influences
Gabrielle Krauss
She was a very famous Austrian-born French operatic soprano of her time. Which is where Leroux got the insperation for the famouse quote that The Angel of Music says to Christine.
What the Angel of Music said to Christine
“Your soul is very beautiful, my child,” replied the grave man’s voice, “and I thank you. There is no emperor who has ever received such a gift! The angels wept tonight.”
~The New Marguerite |
– Ton âme est bien belle, mon enfant, reprit la voix grave d’homme et je te remercie. Il n’y a point d’empereur qui ait reçu un pareil cadeau ! Les anges ont pleuré ce soir. »
~ La Nouvelle Marguerite |
Reference to where Gaston got the idea for the quote.
But no one would have told Carlotta what Rossini said to the Krauss, after she had sung for him "Sombres forêts" in German “You sing with your soul, my child, and your soul is beautiful!”
~ The chapter in which MM. Firmin Richard and Armand Moncharmin have the audacity to put “Faust” on in a house with a “curse” upon it and the dreadful event that resulted. |
Mais nul n’aurait pu dire à Carlotta ce que Rossini disait à la Krauss, après qu’elle eût chanté pour lui en allemand « Sombres forêts ?… » : « Vous chantez avec votre âme, ma fille, et votre âme est belle ! »
~ 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 |
What was originally said to Gabrielle Krauss by Gioachino Rossini
She sang, in German, the great area of William Tell: "Sombres forêts" "Dark forests" The old maestro was moved to tears. He saw his glory rejuvenate with a new, youthful brilliance.
. "Ah! this is the forest that you must visit", proclaimed the impetuous Azevedo ... "Listen to the harmony of these branches and flatten yourself before the immortal master!" . Gabrielle Krauss was invited again to sing the Clock of Tears and the Alder King, by Schubert, then Rossini, excited, embraced the virtuoso, saying: . "Bravo, my child! You sing with your soul and your soul is beautiful! ... " |
Elle chanta, en allemand, le grand air de Guillaume Tell : « Sombres forêts... » Le vieux maestro Tut ému jusqu'aux larmes. Il voyait reverdir sa gloire d'un éclat tout nouveau et tout juvénile.
. — Ah ! voilà bien la forêt que vous devez visiter, clama l'impétueux Azevedo... Ecoutez l'harmonie de ces ramures et aplatissez-vous devant le maître immortel! . Gabrielle Krauss fut encore invitée à chanter l'Eloge des Larmes et le Roi des Aulnes, de Schubert, puis Rossini, enthousiasmé, embrassa la virtuose en disant : . — Bravo, mon enfant ! Vous chantez avec votre âme et votre âme est belle !... » |
(ref. Mardi 16 Janvier 1906, JOURNAL DE MONACO)
Marcella Sembrich (Angel of Music?)
It's possible Leroux used some of her younger life for Christine's backstory as well got the idea for the Angel. Born Prakseda Marcelina Kochańska in 1858. She was a Polish coloratura soprano. She was known for having an extensive range, 2 1/2 octaves. In 1880, she was known to be quite the star, she even had perfected the style of bel canto under Lamperti the younger.
Known for her precise intonation, charm, portamento (sliding form one not to another), vocal fluidity, and impressive coloratura. Her voice was said to be flute-like, sweet, pure, and light.
She studied violin and piano with her father and became an accomplished pianist, violinist, and singer. She earned money to support her family as well as pay for her studies by playing for nobility's parties. She was beloved by the locals and would often playing the town center. Dziadek Lanowitch, and elderly man, heard her at 10 and taking a liking to her sent her to Lemberg Conservatory.
She pursue studies in Vienna and Milan. In 1875 she began her studies at the Vienna Conservatory, studying voice with Joseph Hellmesberger Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons.
Known for her precise intonation, charm, portamento (sliding form one not to another), vocal fluidity, and impressive coloratura. Her voice was said to be flute-like, sweet, pure, and light.
She studied violin and piano with her father and became an accomplished pianist, violinist, and singer. She earned money to support her family as well as pay for her studies by playing for nobility's parties. She was beloved by the locals and would often playing the town center. Dziadek Lanowitch, and elderly man, heard her at 10 and taking a liking to her sent her to Lemberg Conservatory.
She pursue studies in Vienna and Milan. In 1875 she began her studies at the Vienna Conservatory, studying voice with Joseph Hellmesberger Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons.
Angel of Music
At 17, in Vienna, Stengel took her to perform paino, violin, and sang for Franz Liszt in Weimar. Liszt completely enchanted by her brilliant voice, encouraged her to develop her skills "My little angel, God has given you three pairs of wings with which to fly through the country of mu-sic...but sing, sing for the world, for you have the voice of an angel." ~ (From Johnson's Kids to Lemonade Opera: The American Classical Singer Comes of Age, By Victoria Etnier Villamil 2004), & partly quoted in (The Biograph and Review, Volume 2, by E.W. Allen, November 21, 1897)
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In 1879 she went to Minlan "Lamperti seems to take great interest in me, and promised to help me if I would only have confidence in him and work hard. He gave me unusual opportunities. I had no regular hours of study with him. I spent all my day from eleven o'clock in his studio. He would give me a little time here and there, let me listen to his instruction of his other pupils, and then, at the piano, impress upon me the faults and excellencies of some of the pupils he had been teaching...."
At 19, she debuted in Athens, and sang Elvira I Puritan by in Vincenzo Bellini, and four more operas, as well as Lucia di Lammermoor by Gaetano Donizetti.
By 22 she was dubbed the "Polish Patti", and created a sensation in London's Covent Garden. She was Violetta in La Traviata, Zerlina in Don Giovanni and the Queen of the Night from The Magic Flute.
Ref https://www.shigovoicelessons.com/voicetalk//2013/04/the-lamperti-lineage-marcella-sembrich.html
At 19, she debuted in Athens, and sang Elvira I Puritan by in Vincenzo Bellini, and four more operas, as well as Lucia di Lammermoor by Gaetano Donizetti.
By 22 she was dubbed the "Polish Patti", and created a sensation in London's Covent Garden. She was Violetta in La Traviata, Zerlina in Don Giovanni and the Queen of the Night from The Magic Flute.
Ref https://www.shigovoicelessons.com/voicetalk//2013/04/the-lamperti-lineage-marcella-sembrich.html
Her Good Genius
'bon génie'
Madame Valerius calls Christine's Angel of Music. "bon génie". In Greek mythology called eudaimon/εὐδαίμων , eu = "good", genii/geniī (plural); daimon = "daemon/deity" Originally it was a type of daemon or deity, a kind of spirit that everyone was born having. Sometimes literally referred to as a "good spirit", an eudaemon was later regarded as an guardian angel because of this. An Eudaemon to the Greeks meant having a good attendant spirit which causes the person to be happy. They were considered the intermediary spirits between the gods and human, and they were also considered guardian spirits who would provide guidance, even whispering advice and opinions in their hosts ear.
In Roman times the eudaimon was called a genius or genii (plural), génie in french, they are still regarded as a divine spirit in every individual that would fallow their host till the day they die. They were known as protective spirits and often they would have offerings made to them for protection. There were genius for all things even nature such as trees and inanimate objects. Michelangelo sculpted a Genius of victory 1532–34. So it is completely reasonable to have a "génie de la musique/ genius of music". Snakes were associated with the genius, and a fresco found at Pompeii in the House of the Centenary a snake with the label of Agathodaimon or "good daimon". The eudaimon or genius, "génie" or "bon génie" as they were later translated to in French, referred to a spirit present since birth till death, normally represented by a handsome young man who wears a crown of flowers and had wings, who brought good luck, opposite to them was the "mauvais génie" or evil genius who was represented by an old man with an owl and brought bad luck. As Christianity became the dominate religion "bon génie" became synonymous with angels particularly guardian angels. Often being translated as guardian angel or guardian spirit. There is an expression in French which was inspired by the Roman genius "être le bon génie de quelqu'un/to be someone's good genius" means that someone brings you good luck.
(ref. Merriam-webster dictionary p. 392, Return to Soul: An invitation to view the soul by Robert Wilhelm p.22)
In Roman times the eudaimon was called a genius or genii (plural), génie in french, they are still regarded as a divine spirit in every individual that would fallow their host till the day they die. They were known as protective spirits and often they would have offerings made to them for protection. There were genius for all things even nature such as trees and inanimate objects. Michelangelo sculpted a Genius of victory 1532–34. So it is completely reasonable to have a "génie de la musique/ genius of music". Snakes were associated with the genius, and a fresco found at Pompeii in the House of the Centenary a snake with the label of Agathodaimon or "good daimon". The eudaimon or genius, "génie" or "bon génie" as they were later translated to in French, referred to a spirit present since birth till death, normally represented by a handsome young man who wears a crown of flowers and had wings, who brought good luck, opposite to them was the "mauvais génie" or evil genius who was represented by an old man with an owl and brought bad luck. As Christianity became the dominate religion "bon génie" became synonymous with angels particularly guardian angels. Often being translated as guardian angel or guardian spirit. There is an expression in French which was inspired by the Roman genius "être le bon génie de quelqu'un/to be someone's good genius" means that someone brings you good luck.
(ref. Merriam-webster dictionary p. 392, Return to Soul: An invitation to view the soul by Robert Wilhelm p.22)
The real genii of music
(ref. https://arkivet.thorvaldsensmuseum.dk/articles/from-genii-to-angels-and-back)
The Angel of Music is a female
Yes you read that correctly. In the original French Christine and Madame Valerius both refer to the 'Voice', 'good genius' and the 'Angel of Music' as a she and use female pronouns. Christine thinks that the 'Angel of Music' is female and not male. And she even uses the 'elle' personal pronoun when referring to the 'voice'. 'Elle' means she. Why is this the case and why is no one talking about it, well lets take a look.
'elle/she' is used in reference to 'the Voice' another name Christine uses for the Angel of Music.
The correct English translation,
one could argue. |
Alexander Teixeira de Mattos's
1st English translation (1911) |
Original Leroux (1910)
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"And not only did she sing, but she spoke to me, she answered my questions like a real human voice, with the difference that she was beautiful like the voice of an angel."
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"And it not only sang, but it spoke to me and answered my questions, like a real man’s voice, with this difference, that it was as beautiful as the voice of an angel."
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"Et non seulement, elle chantait, mais elle me parlait, elle répondait à mes questions comme une véritable voix d’homme, avec cette différence qu’elle était belle comme la voix d’un ange."
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Note: 'homme' means man, but it can also mean human, or 'man' used like in like human being, human or person.
English Translation
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Original Leroux (1910)
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"Reassure yourself, Christine", she said; "you are in no danger."
. "It was the Voice! . “My fury equaled my amazement. I jumped on this mask and wanted to tear it off, to know the face of the Voice. The male form tells me:... . "And gently imprisoning my wrists, she made me sit down." "And then she knelt down in front of me, and said nothing more!... . The Voice, that is it : 'a man!' and I began to cry. |
« – Rassurez-vous, Christine, dit-elle; vous ne courez aucun danger. »
. « C’était la Voix ! . « Ma fureur égala ma stupéfaction. Je sautai sur ce masque et voulus l’arracher, pour connaître le visage de la Voix. La forme d’homme me dit :... . ....« Et m’emprisonnant doucement les poignets, elle me fit asseoir. . « Et puis, elle se mit à genoux devant moi, et ne dit plus rien !.... . ..... La Voix, c’est cela : un homme ! et je me mis à pleurer.... |
Here she is quickly realizes that her "Angel of Music" and "The Voice" are in fact male. Which is why she has such a reaction after being pulled through the mirror and asks where "The Voice" is and is frightened when she see a male shadow. Which is what leads her to wonder if it is the Phantom who abducted her. This suddenly seems not as stupid of a moment. If she fully believed the Angel of Music was female she would have no reason to believe the shadow figure of the Phantom is one and the same and it isn't until she hears the shadow speak, after they are in the house on the lake, with the same voice as 'the Voice', does she really become mad and fully understand she was deceived by a man.
Raoul is the first to use a male pronoun for the "good genius", this is because Christine and her "Angel" were seen in Bois together and his brother saw a male with her not a female "Angel" or her "good Genius" as Christine and Madame Valerius states.
English Translation
“Madam, you are going to tell me where he lives, this genius!” ~The Mysterious Brougham
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Original Leroux (1910)
« Madame, vous allez me dire où il demeure, ce génie-là ! » ~Le Mystérieux Coupé
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Yet later on in the chapter Madame Valerius used the 'he/il' pronoun. Why is this? One of two things is happening. One Valerius used 'he' because Raoul did and she is slowly realizing the "good genius" and the "Angel of Music" isn't a she after all. Or she knew all along and was trying to hide it from Raoul because Christine asked her too, which seems unlikely. (The quote is Madame Valerius speaking to Raoul about that fact the Angel does not want Christine to marry anyone.)
English Translation
“Yes, he forbids it...!” ~The Mysterious Brougham
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Original Leroux (1910)
– Oui, il le lui défend !… ~Le Mystérieux Coupé
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Conclusion
Why did Leroux choose to use the word 'she/elle' and not 'he/il' in reference to 'the Voice'? There is a few theories.
1. When you saw angels in art and churches at the time, they were mostly always female or drawn very effeminate unless of course it was Michael or Gabriel. They were normally shown as men through out art, but not always. Gabriel was normally shown as effeminate or even as a female so were Uriel, Sariel and Sandalfon. One could argue Érik would have known this being a Catholic and would use this to his benefit when becoming the Angel of Music to a very naive Christine. Which would bring up another interesting fact that he must have been singing in a falsetto or had countertenor abilities to attain a female sounding tone with male vocal cords.
2. It is also possible that Érik when first approached Christine as the "The Voice" he used what's called a Falsetto or a Countertenor range in which to speak and sing to Christine as the "Angel of Music" because he only wished to teach Christine singing, never foreseeing that he would eventually fall in love with her, ultimately resulting in him kidnapping her and having to reveal he was in fact a "man" as she later accuses him of. Suddenly this sentence has so much more impact then him just not being a real "Angel of Music". Not only was that a shock, it was also a shock that SHE as in the "The Voice" was in fact a HE. A male human and not a female angel. It is something to contemplate for sure.
More information on the many voices of Erik (Falsetto/Countertenor) Here
Why did Leroux choose to use the word 'she/elle' and not 'he/il' in reference to 'the Voice'? There is a few theories.
1. When you saw angels in art and churches at the time, they were mostly always female or drawn very effeminate unless of course it was Michael or Gabriel. They were normally shown as men through out art, but not always. Gabriel was normally shown as effeminate or even as a female so were Uriel, Sariel and Sandalfon. One could argue Érik would have known this being a Catholic and would use this to his benefit when becoming the Angel of Music to a very naive Christine. Which would bring up another interesting fact that he must have been singing in a falsetto or had countertenor abilities to attain a female sounding tone with male vocal cords.
2. It is also possible that Érik when first approached Christine as the "The Voice" he used what's called a Falsetto or a Countertenor range in which to speak and sing to Christine as the "Angel of Music" because he only wished to teach Christine singing, never foreseeing that he would eventually fall in love with her, ultimately resulting in him kidnapping her and having to reveal he was in fact a "man" as she later accuses him of. Suddenly this sentence has so much more impact then him just not being a real "Angel of Music". Not only was that a shock, it was also a shock that SHE as in the "The Voice" was in fact a HE. A male human and not a female angel. It is something to contemplate for sure.
More information on the many voices of Erik (Falsetto/Countertenor) Here