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opera
in
The Phantom of the Opera
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The Phantom of the Opera.†
Chpt Prol. *

opera = a musical play with orchestra in which most of the dialogue is sung (or the art form that consists of such musicals; or describing something as related to that art form)
Prologue — IN WHICH THE AUTHOR OF THIS SINGULAR WORK INFORMS THE READER HOW HE ACQUIRED THE CERTAINTY THAT THE OPERA GHOST REALLY EXISTED.†
Chpt Prol.
The Opera ghost really existed.†
Chpt Prol.
The events do not date more than thirty years back; and it would not be difficult to find at the present day, in the foyer of the ballet, old men of the highest respectability, men upon whose word one could absolutely rely, who would remember as though they happened yesterday the mysterious and dramatic conditions that attended the kidnapping of Christine Daae, the disappearance of the Vicomte de Chagny and the death of his elder brother, Count Philippe, whose body was found on the bank of the lake that exists in the lower cellars of the Opera on the Rue-Scribe side.†
Chpt Prol.
But none of those witnesses had until that day thought that there was any reason for connecting the more or less legendary figure of the Opera ghost with that terrible story.†
Chpt Prol.
At last, I received the proof that my presentiments had not deceived me, and I was rewarded for all my efforts on the day when I acquired the certainty that the Opera ghost was more than a mere shade.†
Chpt Prol.
On that day, I had spent long hours over THE MEMOIRS OF A MANAGER, the light and frivolous work of the too-skeptical Moncharmin, who, during his term at the Opera, understood nothing of the mysterious behavior of the ghost and who was making all the fun of it that he could at the very moment when he became the first victim of the curious financial operation that went on inside the "magic envelope."†
Chpt Prol.
Nobody knew what had become of him, alive or dead; and here he was back from Canada, where he had spent fifteen years, and the first thing he had done, on his return to Paris, was to come to the secretarial offices at the Opera and ask for a free seat.†
Chpt Prol.
He, too, had been told of the curious manifestations that seemed to point to the existence of an abnormal being, residing in one of the most mysterious corners of the Opera, and he knew the story of the envelope; but he had never seen anything in it worthy of his attention as magistrate in charge of the Chagny case, and it was as much as he had done to listen to the evidence of a witness who appeared of his own accord and declared that he had often met the ghost.†
Chpt Prol.
This witness was none other than the man whom all Paris called the "Persian" and who was well-known to every subscriber to the Opera.†
Chpt Prol.
It will be remembered that, later, when digging in the substructure of the Opera, before burying the phonographic records of the artist's voice, the workmen laid bare a corpse.†
Chpt Prol.
Well, I was at once able to prove that this corpse was that of the Opera ghost.†
Chpt Prol.
The wretches who were massacred, under the Commune, in the cellars of the Opera, were not buried on this side; I will tell where their skeletons can be found in a spot not very far from that immense crypt which was stocked during the siege with all sorts of provisions.†
Chpt Prol.
I came upon this track just when I was looking for the remains of the Opera ghost, which I should never have discovered but for the unheard-of chance described above.†
Chpt Prol.
And I should be ungrateful indeed if I omitted, while standing on the threshold of this dreadful and veracious story, to thank the present management the Opera, which has so kindly assisted me in all my inquiries, and M. Messager in particular, together with M. Gabion, the acting-manager, and that most amiable of men, the architect intrusted with the preservation of the building, who did not hesitate to lend me the works of Charles Garnier, although he was almost sure that I would never return them to him.†
Chpt Prol.
Debienne and Poligny, the managers of the Opera, were giving a last gala performance to mark their retirement.†
Chpt 1
On the walls hung a few engravings, relics of the mother, who had known the glories of the old Opera in the Rue le Peletier; portraits of Vestris, Gardel, Dupont, Bigottini.†
Chpt 1
She shuddered when she heard little Jammes speak of the ghost, called her a "silly little fool" and then, as she was the first to believe in ghosts in general, and the Opera ghost in particular, at once asked for details: "Have you seen him?"†
Chpt 1
For several months, there had been nothing discussed at the Opera but this ghost in dress-clothes who stalked about the building, from top to bottom, like a shadow, who spoke to nobody, to whom nobody dared speak and who vanished as soon as he was seen, no one knowing how or where.†
Chpt 1
Had any one met with a fall, or suffered a practical joke at the hands of one of the other girls, or lost a powderpuff, it was at once the fault of the ghost, of the Opera ghost.†
Chpt 1
You meet so many men in dress-clothes at the Opera who are not ghosts.†
Chpt 1
Sorelli herself, on the day after the adventure of the fireman, placed a horseshoe on the table in front of the stage-door-keeper's box, which every one who entered the Opera otherwise than as a spectator must touch before setting foot on the first tread of the staircase.†
Chpt 1
—and may still be seen on the table in the passage outside the stage-door-keeper's box, when you enter the Opera through the court known as the Cour de l'Administration.†
Chpt 1
The horrid news soon spread all over the Opera, where Joseph Buquet was very popular.†
Chpt 1
[1] I have the anecdote, which is quite authentic, from M. Pedro Gailhard himself, the late manager of the Opera†
Chpt 1
It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the Opera Comique after it had been produced at the old Theatre Lyrique by Mme. Carvalho.†
Chpt 2
It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the Opera Comique after it had been produced at the old Theatre Lyrique by Mme. Carvalho.†
Chpt 2
And, besides, there are places where a true Parisian, when he has the rank of the Comte de Chagny, is bound to show himself; and at that time the foyer of the ballet at the Opera was one of those places.†
Chpt 2
Lastly, Philippe would perhaps not have taken his brother behind the scenes of the Opera if Raoul had not been the first to ask him, repeatedly renewing his request with a gentle obstinacy which the count remembered at a later date.†
Chpt 2
But he now understood why Raoul was absent-minded when spoken to and why he always tried to turn every conversation to the subject of the Opera.†
Chpt 2
And they were already smiling rather too broadly upon Sorelli, who had begun to recite her speech, when an exclamation from that little madcap of a Jammes broke the smile of the managers so brutally that the expression of distress and dismay that lay beneath it became apparent to all eyes: "The Opera ghost!"†
Chpt 3
The Opera ghost!†
Chpt 3
The Opera ghost!†
Chpt 3
Everybody laughed and pushed his neighbor and wanted to offer the Opera ghost a drink, but he was gone.†
Chpt 3
The retiring managers had already handed over to their successors the two tiny master-keys which opened all the doors—thousands of doors—of the Opera house.†
Chpt 3
And those little keys, the object of general curiosity, were being passed from hand to hand, when the attention of some of the guests was diverted by their discovery, at the end of the table, of that strange, wan and fantastic face, with the hollow eyes, which had already appeared in the foyer of the ballet and been greeted by little Jammes' exclamation: "The Opera ghost!"†
Chpt 3
No one repeated the joke of the foyer, no one exclaimed: "There's the Opera ghost!"†
Chpt 3
And can we be sure that the figure was that of the Opera ghost himself?†
Chpt 3
They said this so funnily that we began to laugh and to ask if there were thieves at the Opera.†
Chpt 3
He nodded his head sadly, while the others spoke, and his features assumed the air of a man who bitterly regretted having taken over the Opera, now that he knew that there was a ghost mixed up in the business.†
Chpt 3
The memorandum-book begins with the well-known words saying that 'the management of the Opera shall give to the performance of the National Academy of Music the splendor that becomes the first lyric stage in France' and ends with Clause 98, which says that the privilege can be withdrawn if the manager infringes the conditions stipulated in the memorandum-book.†
Chpt 3
Or if the manager, in any month, delay for more than a fortnight the payment of the allowance which he shall make to the Opera ghost, an allowance of twenty thousand francs a month, say two hundred and forty thousand francs a year.'†
Chpt 3
At the end of this clause, a line had been added, also in red ink: "'Box Five on the grand tier shall be placed at the disposal of the Opera ghost for every performance.'†
Chpt 3
'Sell the Opera ghost's box!†
Chpt 3
Armand Moncharmin wrote such voluminous Memoirs during the fairly long period of his co-management that we may well ask if he ever found time to attend to the affairs of the Opera otherwise than by telling what went on there.†
Chpt 4
Lastly, he was a charming fellow and showed that he was not lacking in intelligence, for, as soon as he made up his mind to be a sleeping partner in the Opera, he selected the best possible active manager and went straight to Firmin Richard.†
Chpt 4
The first few days which the partners spent at the Opera were given over to the delight of finding themselves the head of so magnificent an enterprise; and they had forgotten all about that curious, fantastic story of the ghost, when an incident occurred that proved to them that the joke—if joke it were—was not over.†
Chpt 4
All the same, I should like to take advantage of the fact that you have not yet turned Christine Daae out of doors by hearing her this evening in the part of Siebel, as that of Margarita has been forbidden her since her triumph of the other evening; and I will ask you not to dispose of my box to-day nor on the FOLLOWING DAYS, for I can not end this letter without telling you how disagreeably surprised I have been once or twice, to hear, on arriving at the Opera, that my box had been sold, at the box-office, by your orders.†
Chpt 4
Believe me to be, dear Mr. Manager, without prejudice to these little observations, Your Most Humble and Obedient Servant, OPERA GHOST.†
Chpt 4
Do they imagine that, because they have been managers of the Opera, we are going to let them have a box for an indefinite period?†
Chpt 4

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Definitions:

(1) (opera)
a form of musical theater with orchestra in which most of the words are sung, often in a classical style and sometimes in a foreign language
(2) (meaning too rare to warrant focus)
Less commonly, the expression, soap opera, refers to a television or radio program that typically runs for many years and dramatizes the lives of a group of characters.

opera in The Phantom of the Opera (Auto-generated)

opera
in
The Phantom of the Opera
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