Prima Donna Play Analysis

I must begin by saying that this musical has been one of the most consistently influential pieces of art throughout my entire life. I knew I loved it, I knew I loved the music from the very first time I heard the Broadway soundtrack. Until now, I had no idea that I could analyze nearly every element of this play in a way that would musically explain why I loved it so much from a logical standpoint. To begin, it must be said that Phantom of the Opera (and by association, Andrew Lloyd Webber as well as the entire genre of Broadway musicals) is famous for its subtle, yet powerful repetition, as well as motivic development. Halfway through the musical, patterns and snippets come back from earlier songs in new and interesting ways. For example, in the ending of the song “Prima Donna,” one of the most used motifs in the musical comes back as the Phantom declares war on the Opéra Populaire. This motif, five chromatic notes that are played descending and then ascending repeatedly in a ghostly manner, are heard in nearly every song as a coherent, connecting device. It’s incredibly subtle, as

In Prima Donna’s second verse, four different melodies are sung at once, verbally showcasing the unrest of the scene as well as the differing opinions of those on the stage. This contrapuntal texture is used on purpose to convey the confusion and conflict of that scene. This occurs at many other places in the musical, such as the very end in “Down Once More,” where the Phantom, Christine, and Raoul all sing at once, again, showcasing the tension of the scene. To add, Christine’s lyrics and melody are developments of a preceding song “Angel of Music,” while the Phantom’s are quite similar to “Past the Point of No Return.” All in all, audience members can clearly see how closely related the songs are in this musical, and the reasons why Webber used as much polyphony as he