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Zusatztext “Ingenious . . . breathless suspense.”— The Nation Informationen zum Autor Gaston Leroux was born on 6 May 1868 in Paris and after school in Normandy, he returned to Paris to study law. His extreme gambling is well-documented after he squandered the millions he had inherited, narrowly escaping bankruptcy. He worked as a court reporter and theatre critic before landing a job as an international correspondent for Le Matin . During this time Leroux travelled to Russia to experience and report on the Russian Revolution. In 1907 he gave up journalism to become a writer, and quickly found success with Le Mystère de la Chambre Jaune (1908) . He became well-known for his popular and acclaimed crime and thriller novels, but Leroux also wrote poetry and short fiction. His most famous work, Le Fantôme de l'Opéra (The Phantom of the Opera ), was inspired by a tour of the cellars at the Paris Opera, and published in 1911. The story has been adapted for film and, most notably, for Andrew Lloyd Webber's long-running musical. Gaston Leroux died on 15 April 1927. Klappentext Filled with the colour and theatrical spectacle of the Paris Opera House and the fascination of love transformed into murderous obsession, this work of suspense remains a rivetting journey into the dark regions of the human heart. 1. Is It the Ghost? It was the evening on which MM. Debienne and Poligny, the managers of the Opera, were giving a last gala performance to mark their retirement. Suddenly the dressing-room of La Sorelli, one of the principal dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage after “dancing” Polyeucte. They rushed in amid great confusion, some giving vent to forced and unnatural laughter, others to cries of terror. Sorelli, who wished to be alone for a moment to “run through” the speech which she was to make to the resigning managers, looked around angrily at the mad and tumultuous crowd. It was little Jammes—the girl with the tip-tilted nose, the forget-me-not eyes, the rose-red cheeks and the lily-white neck and shoulders—who gave the explanation in a trembling voice: “It’s the ghost!” And she locked the door. Sorelli’s dressing-room was fitted up with official, commonplace elegance. A pier-glass, a sofa, a dressing-table and a cupboard or two provided the necessary furniture. 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. But the room seemed a palace to the brats of the corps de ballet, who were lodged in common dressing-rooms where they spent their time singing, quarreling, smacking the dressers and hair-dressers and buying one another glasses of cassis, beer, or even rhum, until the callboy’s bell rang. Sorelli was very suspicious. 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?” “As plainly as I see you now!” said little Jammes, whose legs were giving way beneath her, and she dropped with a moan into a chair. Thereupon little Giry—the girl with eyes black as sloes, hair black as ink, a swarthy complexion and a poor little skin stretched over poor little bones—little Giry added: “If that’s the ghost, he’s very ugly!” “Oh, yes!” cried the chorus of ballet-girls. And they all began to talk together. The ghost had appeared to them in the shape of a gentleman in dress-clothes, who had suddenly stood before them in the passage, without their knowing where he came from. He seemed to have come straight through the wall. “Pooh!” said one of them, who had more or less kept her head. “You see the ghost everywhere!” And it wa...
