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Love Never Dies performed by Sierra 
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Post Love Never Dies performed by Sierra
http://www.youtube.com/watch?v=CWKjrCHfEik Have fun!


Wed Feb 03, 2010 4:29 pm
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Post Re: Love Never Dies performed by Sierra
Phanom wrote:
Have fun!


If only!

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Wed Feb 03, 2010 4:46 pm
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The tune sounds familliar...


Wed Feb 03, 2010 5:55 pm
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Mungojerrie_rt wrote:
The tune sounds familliar...



Because it's exactly like the Heart is Slow to Learn....This just shows that ALW is getting really lazy.

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Wed Feb 03, 2010 6:02 pm
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According to the comments, the tune was originally written for a POTO sequel ALWhad in mind in the 90's, then it got incorprated as Slow to Learn, then got re-inserted into the POTO sequel...

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Last edited by Mistress on Wed Feb 03, 2010 6:31 pm, edited 1 time in total.



Wed Feb 03, 2010 6:06 pm
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I'm wondering of 'There's Me' is going ot turn up. It's been scrapped from Starlight completely now, so it might do the rounds like 'Billy McCaw/Next Time You Fall in Love' did.


Wed Feb 03, 2010 6:10 pm
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Yakko wrote:
Mungojerrie_rt wrote:
The tune sounds familliar...



Because it's exactly like the Heart is Slow to Learn....This just shows that ALW is getting really lazy.


YES. Parts also sound like 'Our Kind Of Love' and something from 'Song and Dance'.

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Thu Feb 04, 2010 10:38 pm
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Three songs have the same melody and different lyrics: "The Heart Is Slow to Learn," written for the sequel that was abandoned or "put on hold" for years--sung by Dame Kiri te Kanawa at ALW's 50th Birthday Celebration; "Our Kind of Love," which was used in The Beautiful Game but was removed from the re-staging (The Boys in the Photograph) so it could be use in the sequel; and "Love Never Dies."


Thu Feb 04, 2010 11:02 pm
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I think she sounds like Carlotta there at the end.

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Sun Feb 07, 2010 8:41 am
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Brock07 wrote:
I think she sounds like Carlotta there at the end.


I agree. Christine is supposed to be different to the other opera singers because of her purity and clarity but I guess LND is set ten years later.

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Tue Feb 09, 2010 12:41 am
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~Masquerade Dancer~ wrote:
Brock07 wrote:
I think she sounds like Carlotta there at the end.


I agree. Christine is supposed to be different to the other opera singers because of her purity and clarity but I guess LND is set ten years later.


I think that works. She is no longer the young stupid thing she was. She's older, and become the diva that Carlotta was.


Tue Feb 09, 2010 12:56 am
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Mungojerrie_rt wrote:
~Masquerade Dancer~ wrote:
Brock07 wrote:
I think she sounds like Carlotta there at the end.


I agree. Christine is supposed to be different to the other opera singers because of her purity and clarity but I guess LND is set ten years later.


I think that works. She is no longer the young stupid thing she was. She's older, and become the diva that Carlotta was.

She's a MILF!

Actually, when reading the new Penguin translation of Gaston Leroux's novel, I came to realize that he had a different view on it than what ALW has. The new translation has stuck faithfully to the novel Leroux wrote, not cutting large chunks as all other English translations has. If you haven't got that book already - beg, borrow, steal, get it somehow. It's fantastic!

The part about Carlotta:

"Carlotta posessed neither heart nor soul. She was merely an instrument - a wonderful instrument, but an instrument nevertheless! Her repertoire included everything that might benefit an ambitious diva, be it the work of German, Italian or French masters. Until then she had never sung out of tune nor lacked the vocal strength demanded by any part in her vast repertoire. In short, the said instrument was wide-ranging, powerful and perfectly tuned. But no-one could have said to Carlotta what Rossini told Krauss after she had sung "Selva opaca" in German for him: "You sing with your soul, my child, and your soul is beautiful".

Oh, where was your soul, Carlotta, when you danced in the brothels of Barcelona? Where was it later, in Paris, when you performed coarse, roistering songs in seedy music-halls? And again, where was your soul when you let that supple and extraordinary instrument of yours - which could sing, with equal perfection, of sublime love and orgiastic pleasure - demean itself by performing in the salon of one of your lovers? O Carlotta, if you had ever possessed a soul and come to lose it, you would have found it again when you became Juliette, when you sang Elvira, Ophelia or Marguerite! For others have risen from lower depths than you did and were purified by art, attended by love."


(Page 97 in Mireille Ribière's translation)

Carlotta is perfection in voice and technique. But she puts no heart and soul into her singing. She is a will-less instrument. As a contrast, Christine pours her heart and soul into her singing, this is the Phantom's gift to her. Leroux speaks of how Christine sung with "unearthly power", and that she sobbed while singing. There's also the mirror scene dialogue between her and the Phantom:

PHANTOM: You must be very tired
CHRISTINE: Oh, tonight I gave you my soul and I am dead!
PHANTOM: Your soul is a beautiful thing, my child, and I am grateful. No emperor ever received so great a gift. The angels wept tonight.

I know that Andrew Lloyd-Webber has described Christine's uniqueness as having a voice that was purer than Carlotta's. But I do think Leroux's take on it makes more sense. When the Phantom is mocking Carlotta, it is not because she is a bad singer. It is because she lacks soul in her singing, and that's something she will never achieve.

Hence, Christine will probably never become "the diva Carlotta was" either. Especially not when singing the Phantom's music, for him. I think Sierra Boggess' voice towards the end fits well with the power Leroux describes, but I somehow find it oddly misplaced in the song. The transition from the "gentle" singing seems too big.

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