Something that always confused me when I read TPOTO was why The Phantom chose box five out of all the private boxes to be his.
Out of all the seats in the house, box five is among the worst and would be (and still is) sold cheaply (average 65 francs at cheapest in 1880, now sold a between 10-25 euros nowadays) on general sale. A higher profit would've been made from a year-long booking, especially since there are multiple seats, so it would be 65 francs per person on a yearly booking no matter how many people are in there at once, but still not as much as other seats.
Visual wise, a good chunk of the left side of the stage is cut off and parts of the performance that would occur in the higher wings would be completely unseen, so, why choose it? Isn't the main point of going to go watch an Opera is to actually see the performance?
(A screenshot from the Palais Garnier's seat listing stating the best seats for viewing and the view from the box five via this video)
Having been there myself in late May, I found an answer to my own question and I'm gonna share it with you guys because maybe someone else was asking the same thing!
Although yes, the stage is half cut off, it's one of, if not the, best seats acoustic wise. You're a perfect distance from the orchestra as well as the stage for everything to sound just right. As much as The Phantom would've loved the operatic performance, I don't doubt he would've been more focused on the music itself as well as the vocals, and, mainly, Christine.
Further, although going to the opera was more of a social thing than an entertainment thing, so the boxes were built for aristocracy to be seen above all things, you can disappear from public view quite easily in that box. There are two to three rows of seats going backwards to the door, so all one would have to do to disappear from sight of anyone on stage or in the audience would be to just move a seat backwards (which means he wouldn't have been able to see the stage at all, but would still be able to hear everything perfectly well).
Plus, the box is located right at the end of the row of private boxes, as well as very close to entry and exit stairs, both public ones and private ones meant for stage hands and general workers.
All in all, those three reasons are why the box was chosen and kept in high priority for The Phantom, because he could quite literally disappear, like a ghost, by just moving himself in the box, as well as disappear out of the box and hear Christine almost perfectly.
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Illustration of the Palais Garnier from Ludwig Bemelman's Madeline, 1939
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Not sure who might find this interesting/helpful, but I just found this calendar of all of the productions shown at the Paris Opera in January 1881. Note that "masked ball" is listed for Jan. 29!
The other available Opera calendars (from 1671–1981) are located here on Gallica.
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Far too many pics of the Palais Garnier (Part Two!)
In October of 2022, I had the extraordinary experience of getting to complete an 15+ year old dream of mine to visit the Palais Garnier. I took a metric fuckton of pictures and now I want to share them with you all, the PotO community!
Before I start dumping, a few things:
Please reblog this post. I usually don’t post a lot, therefore I don’t have a big following. I’d really appreciate people sharing these as much as they can. When I was a dumb kid in ye olden days of the internet, finding a post like this was the sort of thing I would have been hyped up on for weeks. Help spread that kind of joy!
Feel free to use these photos for any sorts of graphics, artistic reference or any other fandom related projects, as long as it’s not for profit. Please just credit me in some way. In fact, I'd love to be tagged to see whatever creations come from sharing all this!
This is part two, which will be photos of the interior. While there, I also took a tour, Mysteries of the Palais Garnier. I'll share a lot of the things I learned throughout the post and try to provide as much context as I can.
PART 1 (exterior) | PART 2 (here!) | PART 3 (foyer) | PART 4 (stage)
Upon leaving the designated tour office area, we entered this large, circular room where our tour began. Giant mirrors lined the walls and one of my companions immediately remarked that she felt as though someone was watching her from behind them.
On the ceiling there was this intricate pattern. We learned that this was Charles Garnier's "signature". He was concerned that at some point in time, his name would be forgotten and he would no longer be remembered as the architect of the Opera. If you look closely, his name is intertwined in the design, as well as the years of the building's construction.
There are salamanders hidden throughout the building as they were said to ward off devastating fires. It was very common for theaters to burn down, then. In fact, the construction of the Garnier was somewhat rushed in the last few years because the company's previous theater, Salle le Peletier burned to the ground in 1873. The Garnier opened in 1875.
We learned in our tour that these cracks on the steps were the result of a great tragedy. A group of ballerinas had been exploring the roof when the glass on the large window above cracked. One ballerina fell through the window and met her demise on the steps below.
With all these pictures of doors to the private boxes, you're probably wondering, "Hey Lotus, what about the most important one?" I got you, boo.
PART 1 (exterior) | PART 2 (here!) | PART 3 (foyer) | PART 4 (stage)
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PALAIS GARNIER - Opéra national de PARIS by @josecmartinezofficial
“Photo volée pendant le dernier défilé en hommage à Patrick Dupond. Un moment magique”.
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‘Marionnette de théâtre d'ombres’
More book Erik art! (surprise surprise)
Wanted to draw something based on Apollo’s Lyre so here’s the finished thing & part of the sketch.. kind of like the second more;;
I’m trying to push myself back into drawing now.
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