| Hannibal | |
| CARLOTTA: | |
| This trophy from our saviours, from our saviours! | |
| From the enslaving force of Rome! | |
| GIRL'S CHORUS: | |
| With feasting and dancing and song, tonight in celebration, we greet the victorious | |
| throng, returned to bring salvation! | |
| MEN'S CHORUS: | |
| The trumpets of Carth age resound! Hear, Romans, now and tremble! Hark to our step | |
| on the ground! | |
| ALL: | |
| Hear the drums -- Hannibal comes! | |
| PIANGI: | |
| Sad to return to find the land | |
| we love threatened once more by Roma's far-reaching grasp, | |
| REYER: | |
| Signor . . . if you please: "Rome ". | |
| We say "Rome' not "Roma" | |
| PIANGI: | |
| Si, si, Rome, not Roma. Is very hard for me. | |
| LEFEVRE: | |
| This way, gentlemen, this way. | |
| Rehearsals, as you see, are under way, for a new production of Chalumeau's | |
| "Hannibal". | |
| Ladies and gentlemen, some of you may already, perhaps, have met M. Andre and M. | |
| Firmin ... | |
| REYER: | |
| I'm sorry, M. Lefevre, we are rehearsing. | |
| If you wouldn't mind waiting a moment? | |
| LEFEVRE: | |
| My apologies, M. Reyer. Proceed, proceed ... | |
| REYER: | |
| Thank you, monsieur. | |
| "Sad to return..." Signor ... | |
| LEFEVR E: | |
| M. Reyer, our chief repetiteur. Rather a tyrant, I'm afraid. | |
| PIANGI: | |
| Sad to return to find the land we love | |
| threatened once more by Rome's far-reaching grasp. | |
| Tomorrow, we shall break the chains of Rome. | |
| Tonight, rejoice - your army has come home. | |
| LEFEVRE: | |
| Signor Piangi, our principal tenor. | |
| He does play so opposite La Carlotta. | |
| GIRY: | |
| Gentlemen, please! If you would kindly move to one side? | |
| LEFEVRE: | |
| My apologies, Mme. Giry. | |
| Mme. Giry, our ballet mistress. | |
| I don't mind confessing, M. Firmin, I sha n't be sorry to be rid of the whole blessed | |
| business. | |
| FIRMIN: | |
| I keep asking you, monsieur, why exactly are you retiring? | |
| LEFEVRE: | |
| We take a particular pride here in the excellence of our ballets. | |
| ANDRE: | |
| Who's that girl, Lefevre? | |
| LEFEVRE: | |
| Her? Meg Giry, Madame Giry's daughter. | |
| Promising dancer, M. Andre, most promising. | |
| GIRY: | |
| You! Christine Daa? Concentrate, girl! | |
| MEG: | |
| Christine . . . What's the matter? | |
| FIRMIN: | |
| Daa? Curious name | |
| LEFEVRE: | |
| Swedish. | |
| ANDRE: | |
| Any relation to the violinist? | |
| LEFEVRE; | |
| His daughter, I believe. | |
| Always has her head in the clouds, I'm afraid. | |
| CHORUS: | |
| Bid welcome to Hannibal's guests -the elephants of Carthage! | |
| As guides on our conquering quests, Dido sends Hannibal's friends! | |
| CARLOTTA: | |
| Once more to my welcoming arms my love returns in splendour! | |
| PIANGI: | |
| Once more to those sweetest of charms my heart and soul surrender! | |
| CHORUS: | |
| The trumpeting elephants sound -- hear, Romans, now and tremble! Hark to their step | |
| on the ground -- hear the drums! Hannibal drums! | |
| LEFEVRE: | |
| Ladies and gentlemen - Madame Giry, thank you - may I have your attention, please? | |
| As you know, for some weeks there have been rumours of my Imminent retirement. | |
| I can now tell you that these were all true and it is my pleasure to introduce to you | |
| the two gentlemen who now own the Opera Populaire, M. Richard Firmin and M. Gilles | |
| Andre. | |
| Gentlemen, Signora Carlotta Giudicelli, our leading soprano for five seasons now. | |
| ANDRE: | |
| Of course, of course. I have experienced all your greatest roles, Signora. | |
| LEFEVRE: | |
| And Signor Ubaldo Piangi. | |
| FIRMIN: | |
| An honour, Signor. | |
| ANDRE: | |
| If I remember rightly, Elissa has a rather fine aria in Act Three of "Hannibal". | |
| I wonder, Signora, if, as a personal favour, you would oblige us with a private rendition? | |
| Unless, of course, M. Reyer objects . . . | |
| CARLOTTA: | |
| My manager commands . . . M. Reyer? | |
| REYER: | |
| My diva commands. Will two bars be sufficient introduction? | |
| FIRMIN: | |
| Two bars will be quite sufficient | |
| REYER: | |
| Signora? | |
| CARLOTTA: | |
| Maestro. | |
| CARLOTTA: | |
| Think of me, think of me fondly | |
| when we've said goodbye ... | |
| Remember me, Every so often, | |
| Please promise me you'll try ... | |
| On that day, that not so distant day, | |
| when you are far away and free, | |
| if you ever find a moment, spare a thought for me ... | |
| Think of me, think of me... | |
| CHORUS: | |
| The Phantom of the Opera! He's with us, he's a ghost ... | |
| He's here! The Phantom of the Opera! | |
| LEFEVRE: | |
| Signora! Are you all right? Buquet! Where is Buquet? Get that man down here! Chief | |
| of the flies. He's responsible for this. | |
| Buquet! For God's sake, man, what's going on up there? | |
| BUQUET: | |
| Please monsieur don't look at me: | |
| as God's my witness,I was not at my post. | |
| Please monsieur, there's no one there: | |
| and if there is, well then, it must be a ghost . . . | |
| MEG: | |
| He's there; the Phantom of the Opera ... | |
| ANDRE: | |
| Good heavens! Will you show a little courtesy? | |
| FIRMIN: | |
| Mademoiselle, please ... | |
| ANDRE: | |
| These things do happen! | |
| CARLOTTA: | |
| Si! These things do happen! Well, until you stop these things happening, this thing | |
| does not happen! | |
| Ubaldo! Andiamo! | |
| PIANGI: | |
| Amateurs! | |
| LEFEVRE: | |
| I don't think there's much more to assist you, gentlemen. Good luck. | |
| If you need me, I shall be in Frankfurt . | |
| ANDRE: | |
| La Carlotta will be back. | |
| GIRY: | |
| You think so, messieurs? I have a message, sir, from the Opera Ghost. | |
| FIRMIN: | |
| God in Heaven, you're all obsessed! | |
| GIRY: | |
| He merely welcomes you to his opera house | |
| and commands you to continue to leave Box Five empty for his use | |
| and reminds you that his salary is due. | |
| FIRMIN: | |
| His salary? | |
| GIRY: | |
| Monsieur Lefevre paid him twenty thousand francs a month. | |
| Perhaps you can afford more, with the Vicomte de Chagny as your patron. | |
| ANDRE: | |
| Madame, I had hoped to have made that announcement myself. | |
| GIRY: | |
| Will the Vicomte be at the performance tonight, monsieur? | |
| FIRMIN: | |
| Yes, in our box. | |
| ANDRE: | |
| Madame, who is the understudy for this role? | |
| REYER: | |
| There is no understudy, monsieur - the production is new. | |
| MEG: | |
| Christine Daae could sing it, sir. | |
| FIRMIN: | |
| The chorus girl? | |
| MEG: | |
| She's been taking lessons from a great teacher | |
| ANDRE: | |
| From whom? | |
| CHRISTINE: | |
| I don't know, sir . . . | |
| FIRMIN: | |
| Oh, not you as well! Can you believe it? | |
| A full house - and we have to cancel! | |
| GIRY: | |
| Let her sing for you monsieur. She has been well taught! | |
| REYER: | |
| From the beginning of the aria then, mam'selle. |
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