Phantom of the Opera (Collins Classics)

De (autor)
Notă GoodReads:
en Limba Engleză Carte Paperback – 2011
HarperCollins is proud to present its new range of best-loved, essential classics.
Citește tot Restrânge
Toate formatele și edițiile
Toate formatele și edițiile Preț Express
Carte Paperback (29) 1903 lei  Economic 18-30 zile +553 lei  3-5 zile
  HarperCollins Publishers – 2011 1903 lei  Economic 18-30 zile +553 lei  3-5 zile
  Wordsworth Editions – March 2008 2311 lei  Economic 11-22 zile +255 lei  3-5 zile
  Bantam Classics – 1990 2584 lei  Economic 11-22 zile +342 lei  3-5 zile
  Value Classic Reprints – 28 Jan 2017 2819 lei  Economic 2-4 săpt. +276 lei  10-18 zile
  Random House (NY) – August 1989 2963 lei  Economic 2-4 săpt. +203 lei  10-18 zile
  Signet Classics – October 2010 3451 lei  Economic 11-22 zile +282 lei  3-5 zile
  Dover Publications – April 2004 3797 lei  Economic 2-4 săpt. +269 lei  10-18 zile
  Arcturus Publishing – August 2017 4030 lei  Economic 2-4 săpt. +992 lei  3-5 zile
  Random House UK – 04 Oct 2012 4528 lei  Economic 2-4 săpt. +1112 lei  3-5 zile
  HarperCollins Publishers – 14 Jun 2018 4598 lei  Economic 11-22 zile +410 lei  3-5 zile
  Oxford University Press – 08 Mar 2012 4804 lei  Economic 10-14 zile +836 lei  3-5 zile
  Penguin Books – 05 Apr 2012 5089 lei  Economic 17-23 zile +1288 lei  3-5 zile
  KUPERARD (BRAVO LTD) – 26 Dec 2002 5459 lei  Economic 2-4 săpt. +2719 lei  10-18 zile
  SMK Books – 23 Apr 2012 6444 lei  Economic 2-4 săpt. +693 lei  10-18 zile
  CANTERBURY CLASSICS – 19 Mar 2018 6566 lei  Economic 18-30 zile +2597 lei  9-16 zile
  Simon & Brown – March 2011 6628 lei  Economic 2-4 săpt. +714 lei  10-18 zile
  SC Active Business Development SRL – 06 Apr 2017 7363 lei  Economic 2-4 săpt. +553 lei  10-18 zile
  POISONED PEN PR – 07 Jan 2020 7579 lei  Economic 11-22 zile +599 lei  3-5 zile
  Aegypan Press – April 2007 8099 lei  Economic 2-4 săpt. +780 lei  10-18 zile
  Editorium – March 2009 8606 lei  Economic 2-4 săpt. +942 lei  10-18 zile
  Lulu – 30 Mar 2015 9017 lei  Economic 2-4 săpt. +874 lei  10-18 zile
  Simon & Brown – 18 Nov 2018 9221 lei  Economic 2-4 săpt. +703 lei  10-18 zile
  Bottom of the Hill Publishing – June 2015 9830 lei  Economic 2-4 săpt. +750 lei  10-18 zile
  Fantastica – 15 Apr 2013 10488 lei  Economic 2-4 săpt. +804 lei  10-18 zile
  Hollywood Comics – October 2004 13572 lei  Economic 2-4 săpt. +1336 lei  10-18 zile
  TREDITION CLASSICS – November 2011 13720 lei  Economic 2-4 săpt. +1530 lei  10-18 zile
  Echo Library – November 2006 17102 lei  Economic 2-4 săpt. +1331 lei  10-18 zile
  Penguin Books – 03 Mar 1994 4837 lei  Economic 31-37 zile
  Lector House – 08 Jul 2019 7496 lei  Economic 24-30 zile
Carte Hardback (4) 7784 lei  Economic 2-4 săpt. +847 lei  10-18 zile
  Value Classic Reprints – 28 Jan 2017 7784 lei  Economic 2-4 săpt. +847 lei  10-18 zile
  Aegypan Press – March 2007 14561 lei  Economic 2-4 săpt. +1437 lei  10-18 zile
  Akasha Classics – 12 Sep 2008 14823 lei  Economic 2-4 săpt. +1462 lei  10-18 zile
  Lulu – June 2014 22044 lei  Economic 2-4 săpt. +2195 lei  10-18 zile
CD-Audio (2) 8644 lei  Economic 11-22 zile +202 lei  3-5 zile
  Big Finish Productions – 31 Mar 2008 8644 lei  Economic 11-22 zile +202 lei  3-5 zile
  Classic Collection – July 2014 9218 lei  Economic 2-4 săpt. +701 lei  10-18 zile

Din seria Collins Classics

Preț: 1903 lei

Preț vechi: 2121 lei

Puncte Express: 29

Preț estimativ în valută:
377 408$ 316£

Carte disponibilă

Livrare economică 13-25 martie
Livrare express 27-29 februarie pentru 1552 lei

Preluare comenzi: 021 569.72.76


ISBN-13: 9780007420278
ISBN-10: 0007420277
Pagini: 320
Dimensiuni: 108 x 175 x 22 mm
Greutate: 0.18 kg
Editura: HarperCollins Publishers
Seria Collins Classics

Notă biografică

Gaston Leroux, born in Paris in 1868, was a French journalist, playwright, and detective/thriller writer. Beginning his career as a crime reporter and war correspondent, he lived an adventurous life that took him to Scandinavia, Eastern Europe, and even into North Africa disguised as an Arab. His high-spirited, often dangerous, escapades and questioning nature provided much of the background and plot material for his sensational mystery and adventure stories, particularly those starring his reporter-sleuth, Joseph Rouletabille. One of his most famous detective novels, The Mystery of the Yellow Room, was published in 1907, and his works have been called “among the finest examples of the detective stories we possess.” But Leroux’s best-known story is The Phantom of the Opera (1911), whose macabre hero has been played in film by classic horror film stars Lon Chaney and Claude Rains. Leroux died in Nice in 1927.
Dr. John L. Flynn is a Chicago-born author, university professor, psychologist, and science fiction enthusiast. In 1977, he received the M. Carolyn Parker award for outstanding journalism and in 1987, he was listed in Who’s Who Men of Achievement. He sold his first book, Future Threads in 1985.


Chapter One

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 was true. For several months, there had been nothing discussed at the Opera but this ghost in dress-clothes who stalked about the building, from top to bottom, like a shadow, who spoke to nobody, to whom nobody dared speak and who vanished as soon as he was seen, no one knowing how or where. As became a real ghost, he made no noise in walking. People began by laughing and making fun of this specter dressed like a man of fashion or an undertaker; but the ghost legend soon swelled to enormous proportions among the corps de ballet. All the girls pretended to have met this supernatural being more or less often. And those who laughed the loudest were not the most at ease. When he did not show himself, he betrayed his presence or his passing by accident, comic or serious, for which the general superstition held him responsible. Had any one met with a fall, or suffered a practical joke at the hands of one of the other girls, or lost a powderpuff, it was at once the fault of the ghost, of the Opera ghost.

After all, who had seen him? You meet so many men in dress-clothes at the Opera who are not ghosts. But this dress-suit had a peculiarity of its own. It covered a skeleton. At least, so the ballet-girls said. And, of course, it had a death’s head.

Was all this serious? The truth is that the idea of the skeleton came from the description of the ghost given by Joseph Buquet, the chief scene-shifter, who had really seen the ghost. He had run up against the ghost on the little staircase, by the footlights, which leads to “the cellars.” He had seen him for a second—for the ghost had fled—and to any one who cared to listen to him he said:

“He is extraordinarily thin and his dress-coat hangs on a skeleton frame. His eyes are so deep that you can hardly see the fixed pupils. You just see two big black holes, as in a dead man’s skull. His skin, which is stretched across his bones like a drumhead, is not white, but a nasty yellow. His nose is so little worth talking about that you can’t see it side-face; and the absence of that nose is a horrible thing to look at. All the hair he has is three or four long dark locks on his forehead and behind his ears.”

This chief scene-shifter was a serious, sober, steady man, very slow at imagining things. His words were received with interest and amazement; and soon there were other people to say that they too had met a man in dress-clothes with a death’s head on his shoulders. Sensible men who had wind of the story began by saying that Joseph Buquet had been the victim of a joke played by one of his assistants. And then, one after the other, there came a series of incidents so curious and so inexplicable that the very shrewdest people began to feel uneasy.

For instance, a fireman is a brave fellow! He fears nothing, least of all fire! Well, the fireman in question, who had gone to make a round of inspection in the cellars and who, it seems, had ventured a little farther than usual, suddenly reappeared on the stage, pale, scared, trembling, with his eyes starting out of his head, and practically fainted in the arms of the proud mother of little Jammes.* And why? Because he had seen coming toward him, at the level of his head, but without a body attached to it, a head of fire! And, as I said, a fireman is not afraid of fire.

The fireman’s name was Pampin.

The corps de ballet was flung into consternation. At first sight, this fiery head in no way corresponded with Joseph Buquet’s description of the ghost. But the young ladies soon persuaded themselves that the ghost had several heads, which he changed about as he pleased. And, of course, they at once imagined that they were in the greatest danger. Once a fireman did not hesitate to faint, leaders and front-row and back-row girls alike had plenty of excuses for the fright that made them quicken their pace when passing some dark corner or ill-lighted corridor. Sorelli herself, on the day after the adventure of the fireman, placed a horse-shoe on the table in front of the stage-door-keeper’s box, which every one who entered the Opera otherwise than as a spectator must touch before setting foot on the first tread of the staircase. This horse-shoe was not invented by me—any more than any other part of this story, alas!—and may still be seen on the table in the passage outside the stage-door-keeper’s box, when you enter the Opera through the court known as the Cour de l’Administration.

To return to the evening in question.

“It’s the ghost!” little Jammes had cried.

An agonizing silence now reigned in the dressing-room. Nothing was heard but the hard breathing of the girls. At last, Jammes, flinging herself upon the farthest corner of the wall, with every mark of real terror on her face, whispered:


*I have the anecdote, which is quite authentic, from M. Pedro Gailhard himself, the late manager of the Opera.

Everybody seemed to hear a rustling outside the door. There was no sound of footsteps. It was like light silk sliding over the panel. Then it stopped.

Sorelli tried to show more pluck than the others. She went up to the door and, in a quavering voice, asked:

“Who’s there?”

But nobody answered. Then feeling all eyes upon her, watching her last movement, she made an effort to show courage, and said very loudly:

“Is there any one behind the door?”

“Oh, yes, yes! Of course there is!” cried that little dried plum of a Meg Giry, heroically holding Sorelli back by her gauze skirt. “Whatever you do, don’t open the door! Oh, Lord, don’t open the door!”

But Sorelli, armed with a dagger that never left her, turned the key and drew back the door, while the ballet-girls retreated to the inner dressing-room and Meg Giry sighed:

“Mother! Mother!”

Sorelli looked into the passage bravely. It was empty; a gas-flame, in its glass prison, cast a red and suspicious light into the surrounding darkness, without succeeding in dispelling it. And the dancer slammed the door again, with a deep sigh.

“No,” she said, “there is no one there.”

“Still, we saw him!” Jammes declared, returning with timid little steps to her place beside Sorelli. “He must be somewhere prowling about. I shan’t go back to dress. We had better all go down to the foyer together, at once, for the ‘speech,’ and we will come up again together.”


"The story of the monster man whose horrible deformities cause fear and terror, his search for love and acceptance, and his haunting of the opera house in Paris is told in very simple language. Beautifully adapted, the story flows along so easily that readers will be immediately caught up in the tangle of events and emotions. McMullan conveys all of the anger, grief, joy, and love that make the phantom a truly believable character. Will attract reluctant readers."--School Library Journal.