Just then, Carlotta made her entrance in a box facing the stage, a sensational entrance. Poor Christine raised her eyes upon this fresh subject of excitement. She recognized her rival. She thought she saw a sneer on her lips. That saved her. She forgot everything, in order to triumph once more.
Gaston Leroux, The Phantom of the Opera (1910)
This is the last appearance of La Carlotta in Gaston Leroux’s book. She says not a word, only a sneer, and is silenced forever. But is Carlotta really the villain of the story? Isn’t she also a victim of the Phantom? Doesn’t she deserve a redemption as well?
When creating the world of his book, Gaston Leroux finds inspiration for the character of Carlotta in a real-life conniving soprano. In Gaston Leroux’s The Phantom of the Opera, I use this source to bring Carlotta into focus.
In 1859, Charles Gounod’s opera, Faust, debuts in Paris at the Théâtre Lyrique. The opera company’s manager, Léon Carvalho, options the show as a vehicle for his wife’s singing talents. Marie Caroline Miolan-Carvalho goes on to originate the role of Marguerite, even working with Charles Gounod to rewrite and further develop the character. For the next decade, Marie monopolizes the role while the Théâtre Lyrique monopolizes Faust.
But in 1868, due to Carvalho’s mismanagement and extravagance, the Théâtre Lyrique goes bankrupt. Smelling blood in the air, the Paris Opera immediately snatches up the rights for Faust. All of Paris, and Marie herself, believe that she will continue to sing Marguerite. But the role is given to a young, Swedish ingénue that has only been with the company for five years. A life-long rivalry forms between Marie Carvalho and the Swedish singer, Christina Nilsson.
Gaston Leroux’s inspiration is easy to find. Marie becomes Carlotta. Christina becomes Christine. And their rivalry becomes fodder for the story’s melodrama. And in the story, the evil character of Carlotta gets her just rewards and disappears from the narrative. Which is what I planned to do in my adaptation, until I begin to create the character of Carlotta for myself.
Writing from her voice, I can’t help but wonder at her motivations. Why does she hate Christine so much? Why does Marie Carvalho hate Christina Nilsson? What would it feel like to create a role as famous as Marguerite, just to see it ripped from your hands by a talented singer almost half your age? Does Marie actually hate Christina? Or does she hate what she represents? The loss of fame, of youth, of legacy. What would any of us do in the face of such destruction? To see all our work, our sacrifices, our voice stolen by a monster hiding in the shadows.
Time is the monster for Marie. The Phantom becomes the monster for Carlotta. They are both careless, selfish creatures that take for themselves and leave nothing behind. Perhaps Marie realizes this in the end. Something that Carlotta realizes as well. What if instead of a sneer, it is Carlotta’s kinship that gives Christine the strength to face the Phantom?
CARLOTTA. Because whoever did this to me – a maniac, an “Opera Ghost” – I can tell, by the look in your eyes, that he haunts you too.
FROM THE NEXT STAGE PRESS PUBLICATION
CHRISTINE. Yes. He does.
CARLOTTA. I wanted you to know that you are not alone.
CHRISTINE. Thank you, Carlotta.
Carlotta’s connection to Marie Carvalho even subconsciously finds its way into my writing. I can’t say for certain, because I can’t recall any memory to the contrary, but looking back at it now, I wonder if it is mere coincidence that I named Carlotta’s maid, Marie. It is through this maid character that Carlotta’s redemption finds its form. And whether it be purposeful homage or a happy accident, Marie is there to bring it to life.
Marie is not the only inspiration for Carlotta. The narrative of a jealous singer cannot be beholden to only one historical figure. Because Christina Nilsson had more than one rival.
While Christina Nilsson’s rivalry with Marie Carvalho plays as perfect melodrama, her rivalry with Adelina Patti creates much of the foundation of the Carlotta character.
Though no physical evidence of their rivalry exists in history, it is easy to see how Gaston Leroux mined her personage to create his fiction. Adelina’s older sister, Carlotta Patti – also a famous opera singer in her time – gave her name to the character. The newspapers of the time often compared her voice with Christina’s, stating that Christina possessed a poignancy and mystique that Adelina, even with all her skill and art, could not reproduce. And both gained fame through their performances as Marguerite in Faust.
And while I might have written a redemption arc for Carlotta in my play, it seems that history wrote a redemption arc of its own for Adelina.
In 1905 and 1906, Adelina Patti sat down with the Gramophone & Typewriter Company and recorded more than 30 operatic songs. Christina found immortalization through the character of Christine Daáe, but Adelina found immortalization through her voice.
The Phantom might have taken her voice, but history returned it.
- Original Production Photos by Chris Kotcher
- Featured Image: Ashley F Viersen as Carlotta and Danielle “Elle” Lucksted as Christine in the 2016 production
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