歌剧《卡门》的剧情和音乐剧《歌剧魅影》的剧情有什么相同的地方

求歌剧魅影音乐剧全剧本~

欢迎每个喜欢此巨著的朋友提问。我也喜欢sarah演的版本
到我的空间去，你可以找到全部原文歌词及原文剧本：
http://adeline-gmj.spaces.live.com/?_c11_BlogPart_BlogPart=summary&_c=BlogPart

包括：
1.Think of me
2.Mirror ( Angel Of Music ）
3.Phantom of the Opera
4.Music of the Night
5.Prima Donna
6.All I Ask of You
7.Masquerade
8.Wishing You Were Somehow Here Again
9.The Point of No Return
等

先贴一张给你看是开头第一幕的。希望你喜欢！
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A C T O N E
SCENE 1
REHEARSSALS FOR 'HANNIBAL' BY CHALUMEAU

(We have reached the great choral scene in which HANNIBAL and his army return to save
Carthage from the Roman incasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen
of Carthage (his mistress) is CARLOTTA GIUDICELLI. The two leading SLAVE GIRLS are played
by MEG GIRY and CHRISTINE DAAE. MME GIRY is the ballet mistress. M. REYER, the repetiteur,
is in charge, We join the opera towards the end of ELISSA's (CARLOTTA's) great aria. She
is alone, holding a present from the approaching HANNIBAL, a bleeding severed head)

CARLOTTA (at the climax of an extravagant cadenza)
This trophy from our saviours,
from the enslaving force
of Rome!

(A STAGE HAND carries a ladder across the stage. OTHERS are seen still constructing partsof the scenery)

GIRLS' 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 Carthage resound!
Hear, Romans, now and tremble!
Hark to our step on the ground!

ALL
Hear the drums -
Hannibal comes!

(PIANGI enters, as HANNIBAL)

PIANGI (HANNIBAL)
sad to return to find the land we love threatened once more by Roma's far-reaching grasp.

REYER (interrupting him)
Signor ... If you please; 'Rome'. We say 'Rome', not 'Roma'.

PIANGI
Si, si, Rome, not Roma. Is very hard for me. (practicing) Rome... Rome ...)

(Enter LEFEVRE, the retiring manager of the Opera, with M.FIRMIN and M. ANDRE to whom he
has just sold it)

REYER (to PIANGI)
Once again, then if you please, Signor: 'Sad to return ...'

LEFEVRE (to ANFRE and FIRMIN)
This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production
of Chalumeau's 'Hannibal'.

(Sensing a hiatus in the rehearsal, LEFEVRE attempts to attract attention)

LEFEVRE
Ladies and geltlemen, some of you may already, perhaps, have met M. Andre and M. FIRMIN ...

(The new managers are plitely bowing, when REYER interrupts)

REYER
I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting for a moment?

LEFEVRE
My apologies. M. REYER, Proceed, proceed ...

REYER
Thank you, monsieur. (turning back to PIANGI). 'Sad to return ...', Signor ...

LEFEVRE (sotto voce to ANDRE and FIRMIN)
M. Reyer, our chief repetiteur, Rather a ttyrant, I'm afraid.

(The rehearsal continues)

PIANGI (HANNIBAL)
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.

(The BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand centre-stage watching
the ballet. The are in the way. The ballet continues under the following dialogue)

LEFEVRE (indicating PIANGI)
Signor Piangi, our pricipal tenor. He does play so well opposite La Carlotta.

GIRY (exasperated by their presence, bangs her cane angrily on the stage)
Gentlemen, please! If you would kindly move to one side?

LEFEVRE
My apologies, Mme. Giry.
(leading ANDRE and FIRMIN aside)
Madame Giry, our ballet mistress. I don't mind confessing, M. FIRMIN, I shan't be sorry to
be rid of the whole blessed business.

FIRMIN
I keep asking you, monsieur, why exactly are you retiring?

LEFEVRE (ignoring this, calls his attention to the continuing ballet)
We take a particular pride here in the excellence of our ballets.

(MEG becomes prominent among the dancers)

ANDRE
Who's that girl, Lefevre?

LEFEVRE
Her? Meg Giry, Madame Giry's daughter. Promising dancer. M. Andre, most promising.

(CHRISTINE becomes prominent. She has absentmindedly fallen out-of-step)

GIRY (spotting her, bangs her cane again)
You! Christine Daae! Concentrate, girl!

MEG (quietly, to CHRISTINE)
Christine ... What's the matter?

FIRMIN (to LEFEVRE)
Daae? 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.

(The ballet continues to its climax and ends. The CHORUS resumes)

CHORUS
Bid welcome to Hannibal's guests -
the elephants of Carthage!
As guides on our conquering quests,
Dido sends
Hannibals friends!

(The ELEPHANT, a life-size mechanical replica, enters. PIANGI is lifted, in
triumph, onto its back)

CARLOTTA (ELISSA)
Once more to my
welcoming arms
my love returns
in splendour!
PIANGI (HANNIBAL)
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 comes!

(At the end of the chorus LEFEVRE claps his hands for silence. The elephant is
led off. Two stage-hands are revealed operating it from within)

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.
(Polite applause. Some bowing. CARLOTTA makes her presence felt)
Gentlemen, Signora Carlitta Guidicelli, 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? (Somewhat acerbic). 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 (ensuring that CARLOTTA is ready)
Signora?

CARLOTTA
Maestro.

(The introduction is played on the piano)

CARLOTTA
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.

When you find
that, once
again, you long
to take your heart ...

(As CARLOTTA is singing, a backdrop crashes to the floor, cutting her off from half
the cast)

MEG/BALLET GIRLS/CHORUS
He's here:
the Phantom of the Opera ...
He is with us ...
It's the ghost ...

PIANGI (looking up, furiously)
You idiots!
(He rushes over to CARLOTTA)
Cara! Cara! Are you hurt?

LEFEVRE
Signora! Are you all right? Buquet! Where is Buquet?

PIANGI
Is no one concerned for our prima donna?

LEFEVRE
Get that man down here! (to ANDRE and FIRMIN)
Chief of the flies. He's responsible for this.

(The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET,
holding a lenth of rope, which looks almost like a noose)

LEFEVRE
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 (looking up)
He's there: the Phantom of the
Opera ...

ANDRE
Good heavens!
Will you show a little courtesy?

FIRMIN (to MEG and the OTHERS)
Mademoiselle, please!

ANDRE (to CARLOTTA)
These things do happen.

CARLOTTA
Si! These thing do happen! Well, until you stop these things happening, this
thing does not happen!
Ubaldo! Andiamo!
(PIANGI dutifully fetches her furs from the wings)

PIANGI
Amateurs!

LEFEVRE
I don't think these's much more to assist you, gentlemen. Good luck. If you
need me, I shall be in Frankfurt.

(He leaves. The COMPANY looks anxiously at the NEW MANAGERS)

ANDRE
La Carlotta will be back.

GIRY
You think so, messieurs? I have a message, sir, from the Opera Ghost.

(The GIRLS twitter and twirl in fear)

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.

(Reaction to this from the BALLET GIRLS. CHRISTINE takes hold of MEG nervously)

ANDRE (to GIRY)
Madame, I had hoped to have made that announcement myself.

GIRY (to FIRMIN)
Will the Vicomte be at the performance tonight, monsieur?

FIRMIN
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 (to FIRMIN)
She's been taking lessons from a great teacher.
ANDRE
From whom?

CHRISTINE (uneasily)
I don't know, sir ...

FIRMIN
Oh, not you as well!
(turning to ANDRE)
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 (after a pause)
From the beginning of the aria then, mamselle.

CHRISTINE
Think of me,
think of me fondly,
when we've said
goodbye.
Remember me
once in a while -
please promise me
you'll try.

FIRMIN
Andre, this is doing nothing gor my nerves.

ANDRE
Don't fret, Firmin.

CHRISTINE
When you find
that, once
again, you long
to take your heart back
and be free -
if you
ever find
a moment
spare a thought
for me ...

(Transformation to the Gala. CHRISTINE is revealed in full costume)

We never said
our love
was evergreen,
or as unchanging
as the sea -
but if
you can still
remember,
stop and think
of me ...

Think of all the things
we've shared and seen -
don't think about the things
which might have been ...

Think of me,
think of me waking,
silent and
resigned.

Imagine me,
trying too hard
to put you
from my mind.

Recall those days,
look back
on all those times,
think of the things
we'll never do -
there will
never be
a day, when
I won't think
of you ...

(Applause, bravos. Prominent among the bravos, those of the young RAOUL in
the MANAGERS' box)

RAOUL
Can it be?
Can it be Christine?

Bravo!

(He raises his opera-glasses)
What a change!
You're really
not a bit
the gawkish girl
that once you were ...

(lowering his opera-glasses)
She may
not remember
me, but
I remember
her ...

CHRISTINE
We never said
our love
was evergreen,
or as unchanging
as the sea -
but please
promise me,
that sometimes,
you will think
of me!

PS:最近MSN的空间普遍上不去，可能网站问题，请过两天看！

卡门说的是一个吉普赛女孩吧，叫卡门，唐何塞爱上了她，便与她结婚，可他发现卡门并不是那么老实，一会和斗牛士好了，一会又和黑商老板好了。但卡门面对唐何塞还是很关心，说我还爱你之类的，最后唐何塞为了卡门杀了很多人。
一天唐何塞把卡门带出去，问她和不和他去另一个地方，卡门怎么的就急了，说“卡门永远是自由的！”然后扔了她们两人的结婚戒指，唐何塞气急之下杀了卡门，投案自首，但拒不供述尸体的藏匿位置，最终处以绞刑。

歌剧魅影的原著讲的是19世纪末的巴黎歌剧院下住了一个魅影，其实他是因为丑陋被母亲遗弃才躲到那儿的。他才华横溢，是建筑师，音乐家，魔术师，设计师等等。
他经常威胁歌剧院，让歌剧院给他工资，让他安排剧目和角色，不然魅影就得闹点什么事出来。
他爱上了伴舞的克里斯丁 戴叶，便教她唱歌。一晚，克里斯丁以出色的演唱水平唱了《浮士德》，并大获成功。魅影本来以为克里斯丁会感谢他并爱上他，但克里斯丁儿时的玩伴——夏尼 拉奥尔子爵突然出现在歌剧院，他们两个成为了恋人。魅影便把克里斯丁带到地下住了五天，但谁都没有想象的快乐，克里斯丁摘下魅影的面具，看到了魅影的脸，吓坏了。五天过后并马上找到拉奥尔，要和他一起逃离这个地方。
无所不能的魅影知道了这件事，便把克里斯丁夺回来，把拉奥尔和自己的朋友关在酷刑室，问克里斯丁，是嫁给他，还是毁灭巴黎？
为了自己的爱人，克里斯丁选择嫁给魅影。
但当天晚上，魅影就放了她，因为他看到了自己心爱的克里斯丁的悲伤，而且自己是在强迫她爱他。
克里斯丁和子爵结婚了，魅影不久后在地下宫去世。


音乐剧版呢前面和原著差不多，最后的是魅影勒着子爵的脖子，问克里斯丁是嫁给他还是让子爵死？克里斯丁吻了魅影，魅影醒悟了，就放了他们，然后失踪了。

剧情相同的地方：
1、都是三角恋。在Carmen中，Carmen、Don José和Escamillo，Carmen起先和Don José相恋，之后Don José为其坐牢出狱之后，Carmen爱上了斗牛士Escamillo；在The Phantom of the Opera中，Phantom喜欢Christine，而Christine却后来和Raoul相爱、订婚。
2、男主角为爱逆来顺受。在Carmen中，Don José为了Carmen坐牢；在The Phantom of the Opera中，Phantom为了捧红Christine，一直引导她声乐、写信威胁剧场等等。
3、在最后一幕中，Carmen和Christine都受到了Don José和Phantom的威胁，但是她们都没有改变自己爱情的立场。结局不同的是，Carmen被刺死，Chrisitne感动了Phantom。

希望回答对你有帮助。

……本来就没有相同之处……

非要扯到相同处，大概就是，两部剧的主角，卡门和魅影，都是火一样的人物，他们既有让人不能自拔的魅惑，又有让人恐惧的毁灭型人格。

至于剧情……只能说，都是爱，与求爱而不得的故事……

---

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