The whole first fragment might be called in the same way as the topic represented by the character in a leading role; but only if this misterious being, carries out a catastrophe because of his anger, we will be able to listen this tuning which throughout the musical, will go on like a topic "leit-motiv" with different changes.
At the second time this tuning is repeated, we notice in which way begins a sequence of two notes quite similar to heart beats and in which way under the principal topic (organ in a low tone), is cleary heard a second harmony consisted of the highest notes of the same instrument.
This piece is overall sombre and gloomy, similar to the life of the main character.
That way we can compare the cruel existence of the Phantom and his tormenting soul, to the low tone of the organ and the nimble and vibrating tuning, respectively. The life of the tortured character is completely reflected at the overture, from his birth to his inexplicable disappearance and he takes with him the deep changes in his spirit.
POINT OF NO RETURN
As we can observe, it is aperfect dialogue, but not only it.
This song is a trick of the Phantom. It has been written by him, therefore he wrote the words he wanted her to pronounce. That way he will be able to check out the effect they can produce. As we have commented previously, Erik longs to push Christine to the wished goal: her surrender to him
After this beggining sung by Aminta, the dialogue goes on, however at this occasion I'll focus on the femine character:
"How long shoul we two wait before we're one...?
When will the blood begin to race, the sleeping bud burst into bloom?
When will the flames, at last consume us...?"
These three no-ansered questions form a transition which we will analize carefully.
The first one, refers to a carnal passion. We must remember that we are talking about Don Juan triumphant and it consist of erotic lyrics typical of the character himself.
The second question made by Christine/Aminta, contains a symbol: the blood. Maybe it refers to the confrontation in store for them. Maybe it is a premonition of the ending.
In the following question, the symbol of the bud turning into a flower means passion, but this timein a spiritual way.
An sleep bud reluctant to be opened is the soprano's situation. One more time, Erik manipulates the lyrics trying to get a longer effect on the young woman (the opened flower: the complete surrender).
And finally, the last retoric question focus on the passion as climax, pure passion. The flames as a love symbol burning in both of them.
ERIK AND FAUST
Erik was an orphan of love. He just wanted to belong to society and he was not allowed.
Why was his face the unfinished picture? Why him?
About this aspect, we must wonder about Leroux's insistence in a concrete opera: Faust by Gounod.
This work has to do with the fact exposed above, the one about the similarity between Erik and Faust.
Both of them have a wide knownledge and they consider it reason enough to live, however they do not know the most sublime thing in life: Love.
Both of them consider love as something forbidden, one of them because of his old age, the other one because of his ugliness.
Margarite, or Christine in this case, is going to give him back the faith in God.We are not getting at Erik's atheism; he believed in God, but not in His mercy.
Perhaps God does not see suffering of many people?
Maybe He did not ever see Erik's misfortune?