Get Sleepy: Sleep meditation and stories - A Dream of the Opera and its Phantom

Starting point is 00:00:00 Hey friends, for the best Get Sleepy experience, be sure to check out our supporters feed Get Sleepy Premium for our free listening weekly bonus episodes and access to our entire catalogue. Now, a quick word from our sponsors who make the free version of this show possible. Welcome to Get Sleepy, where we listen, we relax, and we get sleepy. I'm your host, Thomas. It's a pleasure to have your company once again. Like Mondays, tonight's tale was once again written by Alicia Staffan. Jessica will be reading it to us as we take you on a very special dream world tour of one of the greatest monuments of Paris, the legendary Palais Garnier.

Starting point is 00:01:03 Considered to be one of the most stunning opera houses in the world, it's a place where society can take in a theatrical performance while also creating its own upper-crust drama. When setting foot in the Halle Garnier, as we'll do tonight, Garnier, as we'll do tonight. You might anticipate a small brush with the supernatural, but don't worry. Any spirits haunting our upper house in this story are there only for a friendly visit. The very best way to listen to Get Sleepy is on our supporters' feed, Get Sleepy Premium. There, you'll have access to our entire catalogue of over 600 stories and meditations, including extra long episodes and series compilations, and it's all completely out free. Plus, every single Thursday, we release a new bonus episode

Starting point is 00:02:08 exclusive to the Premium Feed. Tomorrow night, we'll take a little break from our Halloween themed episodes, enjoying a quiet and relaxing day, working at a vintage clothes shop in an English town. The first seven days of your premium subscription are free, so why not give it a try and see if you agree that it's the very best companion for a good night's rest. For more information on all of our premium plans, visit getsleepy.com support, or just follow the link in the show notes. Thank you for your support. Before we begin our story, let's take a few moments to settle in. Then, at this time, thoughts and worries may well pass through your mind, and I know it can be difficult to switch off from the days of Ents sometimes.

Starting point is 00:03:18 One way of helping with this is to try taking a short, mindful break every now and then throughout the day. During these intervals, just allow yourself to stop whatever you're doing and rest. simply concentrate on your breathing or go outside for a minute and enjoy some fresh air. You may even choose to meditate for 5 or 10 minutes perhaps. The practice of resting our minds during the day is helpful when it comes to sleeping at night. It allows us to find that place of calm a little more easily. As for now, they take a nice deep breath in, hold at the top, then breathe in deeply, hold for a moment and breathe out. As you relax, taking some more slow deep breaths, don't worry about trying to fall asleep. You'll drift off when you're ready. Just enjoy the comforting sensation of your body pressing into the bed.

Starting point is 00:05:28 And enjoy the stillness of the space around you, letting your focus rest gently on tonight's story. I'll shortly make way for Jessica, so begin to picture yourself on a crisp autumn day, wandering the charming neighborhoods of Paris. You're about to discover one of its most celebrated treasures. This is where our story begins. You've been visiting a friend in Paris. They have been there for the past year, working on their degree in art history, and you have finally taken advantage of their many invitations to stay with them. The apartment they live in is very small, but charming.

Starting point is 00:07:00 While your friend is studying, you have been taking in as many sites as you can. You are head over heels for this beautiful city. The warm and languid days of summer are now over, and Paris is humming with fresh energy. Having returned from their relaxing country vacations and their days by the sea, Perisians have flocked to their cafes and public spaces once again. Like you, they are ready to embrace the crisp romantic potential of another autumn. You come home after a long day on your feet and ask your host about a particularly grand building you spotted on your way back from the Louvre. You describe it as best you can recall. It's rows of classical columns, it's highly decorated for side, and it's impressive

Starting point is 00:08:18 oxidized green dome. You describe the two large gold statues high up on either end. Within seconds, your friend is nodding in recognition. They tell you that you were passing the Palais Garnnya. It is, they add, one of the most famous opera houses in the entire world. You settle into your seat and lean forward onto the tiny cafe table your friend uses as a dining dining area. As an art historian, they are in their element, ready to tell you all about this great landmark of Paris. They point out to you that it is a wonderful representation of several periods in art and architecture. To further ensure your attention, your friend dangles a less intellectual tidbit that intrigues you. The Palais famous phantom of the opera novel. And they ad mysteriously. He swore his entire life that the phantom was real. Seeing that

Starting point is 00:09:58 they have your undivided attention, Your friend begins the story. It was Napoleon III who insisted on building the Opera House. After considering 171 architects for the project, he chose a relatively unknown man named ShAllah Ghanyeh. He won the contract by proposing a lavish structure that borrowed from many historical styles. The new opera house would mix classicism and Renaissance elements with highly decorative baroque styling. Hear your friend's stops in the middle of the story, remembering that you are not an art expert.

Starting point is 00:10:57 They clarified that this is why you remember seeing the columns and also the gold statuary that seemed so decorative. If you were to get much closer and go inside, your friend adds meaningfully, you would feel the baroque influence immediately. The gold, the mirrors, the lavish colour, the Palais Gagne was seeking to be a symbol of Napoleon III's Second Empire, Grand and Monumental. Your friend adds that when the Empress Ujjini had asked Ghañe in what style the building was to be constructed, he replied, Why, ma'am, in Napoliottoa? In other words, Napoleon III was creating his own new trends.

Starting point is 00:12:07 The evening slips by too quickly as you enjoy many colourful descriptions of the opera house and its illustrious past. The pictures your host creates for you of the magnificent center staircase, the grand foyer and the auditorium make you yearn to see them for yourself. As if those attractions were not sufficient, you find out there is also a library of the opera inside the building and that it holds a treasure trove of historical artifacts. You resolve to put this landmark on your long list of places to visit during your remaining time in Paris. Most seductive of all, however, are the dark tales of the Phantom. Although Phantom of the Opera is only a story, you know that

Starting point is 00:13:21 the author based it on real sightings and rumours. It is not so hard for you to imagine that a ghost would haunt a place of such passion and importance. You find yourself wistfully thinking that you would like to see the phantom for yourself. You notice that you are politely resisting a yawn, and you realise your friend probably has a busy day of classes tomorrow. Thinking fondly of your little guest bed on the couch, you express your thanks for the fascinating overview of the pale guagne. It is not long before your friend has retreated to their room and you are snuggles into your

Starting point is 00:14:17 pile of bedding on the sofa. Your day as a tourist has quite exhausted you. Within moments, you are dimly aware that you are floating away from wakefulness. Your limbs feel pleasantly heavy as they claim their well-deserved rest. You think happily to yourself that perhaps you will visit the opera tomorrow. Then you picture yourself walking down the grand avenue of the opera facade gets closer and closer in your mind's eye. With each step, the walk becomes more real. The night traffic and the other pedestrians are around you, but it's as if you are gliding by them. You are not disturbed by any noise

Starting point is 00:15:29 or confusion of the city. Nothing interrupts your reverie as the fascinating Palais Gagne Ghanye pulls you gently into its grand orbit. The buildings rising on either side of the avenue prevent you from viewing the sheer size of the monument if you have thrown wide the doors to a grand performance. There is no staircase outside the front of the Opera House, Gahnya saved that dazzling feature for the lobby. Instead, you know that many patrons, including the Emperor, were meant to enter from the rotunders on either side. To the left, Napoleon III expected to make his way into the Palais Gagné, unobserved by his enemies. To the right, ticket holders would arrive in their carriages, walking straight into the

Starting point is 00:17:00 side of the building. Your friend suggested that the architect purposefully made the ceiling of that rotunda lo and unimpressive because he wanted the reveal of the grand staircase to be a spectacular moment for each person as they made their way inside. for each person as they made their way inside. Oddly, you know just where to enter the building as if you have been there before. With the confidence of a finely dressed or prepatron, you glide straight into the vestibule. True to your expectation, the modest entryway feels like a moment of architectural suspense. You walk towards the grand staircase, following a path lit low by elegant light fixtures. The relative nearness of the ceiling here makes its richly decorative details easy to observe.

Starting point is 00:18:15 You cannot begin to imagine how each tiny part of this space was painstakingly hand-carved by craftsmen. The scope of the effort is difficult for you to grasp. Crossing the vestibule doesn't take long. Within moments, the astounding lobby that showcases the grand staircase is soaring overhead. You turn your face upward and slowly move in a circle, taking in the glorious ceiling frescoes. There are four richly painted scenes on panels that surround a square glass skylight. This is many floors above.

Starting point is 00:19:13 Moving your eyes down the walls, you see rows of onyx balconies that look back down into the first level. down into the first level. Between them, perched on little shelves that jut out into space, a light fixture that could accurately be described as fancy lamp posts. Nothing here is created on a small scale. Everything about the floors above invites guests to stop and watch other patrons go by. It occurs to you that the activity in the entryway was probably quite a show for the people who had already climbed the stairs. This makes you smile with a feeling of being special. At the moment, you are gloriously alone and unobserved. The Palais Gagnet is your own secret tonight. That must be a rare experience. Completing your 180 degree turn, you slowly move your gaze downward and look at the staircase. It is a vision made of marble. The shallow white steps are framed by ballast rods of red and green.

Starting point is 00:20:51 The main section divides in the middle part way up, sorting the theatre goers into those who have seats on the left and those who have seats on the right. At the bottom, on either side, two statues of women in classical dress hold opulent candelabras that light the way for everyone who enters. As you slowly ascend the staircase, you take small steps. You remember your friend telling you that the stairs were constructed this way so that female patrons wouldn't have to flash their ankles as they climbed, a notion that makes you smile. On the landing, rather than proceeding into the lower part of the auditorium, you choose to climb one side of the diverging stairs. You are eager to see the grand foyer. After all, your friend mentioned that it was partially modelled on the Hall of Mirrors at the Palace of Versailles. It sounds very glamorous.

Starting point is 00:22:19 Before you reach it, however, you find yourself on the landing in a slightly smaller foyer. It's 65 or 70 feet long, with doors at either end that seem to lead to other rooms. Across from you, it has three enormous doors that must go into the Grand Forier. However, you stop to examine this space first. You find yourself gazing in awe at the mosaics that cover the ceiling. The detail is incredible, and the entire space is lavishly illuminated by five huge chandeliers. You recall your friend telling you about a hall that was decorated in a style that alluded to the Byzantine art period. Even though you are no expert, you can see that you are in that hall now.

Starting point is 00:23:33 It definitely makes you think of the Roman Empire and the glories of antiquity. This room celebrates the classics. As you are admiring the mosaics, you are almost sure that you can hear the strains of a violin playing. You tilt your head to one side, and then in the other direction, but you cannot determine exactly where it is coming from. Seeking the source of the exquisite melody, you move toward the three large doors. One of them is standing open as if to invite you in.

Starting point is 00:24:28 You step through it and find you are in the glorious Grand Voyet. This was the room that Gahnya had intended to be like a drawing room for the Paris elite. As your friend had explained, the opera house was so much more than a space for watching singers and dancers. To appear as a guest at the opera was to a performance within a performance. Each entryway, stairway and foyer had been designed to showcase the beautiful stage of its own, reflecting its visitors in mirror after mirror, and infinitely multiplying the performances in the the process. The Grand Forier is about 60 feet high and almost three times as long. Turning your face upward, you are stunned by the decadence of the paintings on the ceiling. Lavish depictions of gods and angels are framed in both rectangular and oval panels. The space is opulently lit by enormous two-tiered chandeliers that are mirrored back by the glass all along the walls. You slowly stroll the length of the foyer, unable to take your eyes of the chandeliers.

Starting point is 00:26:31 They sparkle like diamonds, casting off a low romantic light. Your overall impression is that you are inside a royal jewel box that is absolutely covered with gold finery. No space is left without ornamentation, floral carvings, medallions, and statuary abound. You feel you could tour this little room for years and never see it all. Then once again, you hear the violin. Turning to follow the sound of the music, you imagine that you have just seen a flash of white silk disappear through the door. A light scent of perfumed wafts gently by, like a memory of a retreating lady. You want this mysterious woman in white to stop so that you can see her and talk with her. You call timidly into the corridor, asking if someone is there. Could Could she tell you the way to the auditorium you wander?

Starting point is 00:28:06 There is no response. As you stand keenly listening, you hear more musicians. This time it is not just a single violin. It seems as if an entire orchestra is warming up in the auditorium. The disjointed sounds of various string instruments are echoing through the outer foyer. You return to the stairs and slowly descend. You return to the stairs and slowly descend. As you do, however, the source of the music fades away. You are left wondering if it was your imagination. Your attention is attracted to the Western rotunda.

Starting point is 00:29:03 This was the side of the opera house that had been constructed with the Empress' privacy and protection in mind. Your friend told you the ramps leading to the entrance there had created a bit of a stir during construction, as their presence had disturbed the mirror image with the east rotunda on the other side. At the time, for a building to demonstrate symmetry was considered very desirable. Nonetheless, the ramps had been built for the Empress convenience. As it happened, the Emperor never had a chance to visit the completed opera before he passed

Starting point is 00:29:54 away in 1873 and a new regime began. The Rotunda now houses the library and the museum of the Paris Opera. That, you think to yourself, is something you want to see. You find the stairs that lead to the museum, stopping briefly to admire the statue at the top. It is a breathtaking likeness of a dancer caught in mid-leap. You run your fingers lightly over its bronze contours, which creates such a skillful impression of motion. Continuing on, you find yourself in a dimly lit room. The floor is a surprisingly modern looking, light-colored, herringbone wood. In colourful contrast to the flooring, the walls are stacked to the ceiling with hard back volumes on honey-colored wooden bookshelves. The books on your level within Arms Reach are covered with a protective grill keeping the volume safe from curious hands.

Starting point is 00:31:28 the volume safe from curious hands. Up above, where more books can be accessed via balcony, the volumes are not covered. You suspect this is because the general public is not allowed to go up there. The overall feeling in the room is deliciously quiet and peaceful. You feel as if you could sit on one of the nearby benches and stay all night, but you have more to see. Further inside, the exhibition rooms contain displays, UC paintings, costumes, pieces of theatrical jewelry, and scenery drawings. There are scale models of sets from performances that happened long ago. Picking up a brochure someone has left behind. You read a few more details about the museum. The literature tells you that the opera director started his personal collection in 1866.

Starting point is 00:32:43 Mentally reviewing what you can recall of the history of Friendschared, you realize this was before the Palais Garnier had been completed. As so often happens with little projects, the collection started informally, but it grew. Eventually, the director was named the OPPERS official archivist. Obviously, not everything is on display here now, as there are 8,500 objects in the library collection, as well as 100,000 books, 10,000 theatre programs, 100,000 photos and 30,000 Liberty. Putting down the brochure, you wander from one item in the room to another. You especially enjoy the lavish costumes.

Starting point is 00:33:51 You lean close to the cases to examine their colourful embroidery. They stand on proud and silent mannequins, in clear boxes that glow with light in a dark room. It feels almost like they are waiting for the performance to begin again. Although you are the only person currently viewing this showcase of history, you find yourself tipped-oing quietly through the room. You feel a reverence permeating the place, and you wish to give it the respect it deserves. Casting one last glance around the displays, at these treasures of the opera, you wistfully

Starting point is 00:34:44 depart. As you return to the Grand Festival, you once again hear the tantalizing strains of the orchestra tuning up. You are sure that you were not imagining it before, and you are quite certain it is real now. You determine that it is coming from the auditorium, hoping to meet someone who can tell you more about the opera. You follow the gently discordant strains, heading toward the entrance to the orchestra seating. The richly ornamented pillars of the vestibule are soon at your back, as you walk forward through the passage that leads into the performance space.

Starting point is 00:35:38 As you step inside, the sound of the musicians fades away, and you find yourself once again in silence. There is nobody in the orchestra pit at all. Unbothered, you stalk and stare at the room. You need a moment to absorb its majesty. Another of Gahna's daring and seductive spaces. Although you are just one person standing in an ocean of seats, you feel as if the theatre is curiously looking inward at you. The boxes fill the upper levels in a horseshoe shape so that the patrons in each compartment can see all the others. You recall your friend saying that this was

Starting point is 00:36:37 one of the largest stages in Europe. To be sure, it looks enormous, but the design of the theatre is such that it doesn't feel too vast. It occurs to you that, like the Grand Forier and the impressive stairs, it is a space for the ticket holders to socialize and observe each other. But where the exterior spaces felt light and spacious, this room feels dark and intimate. The overwhelming impression is of red velvet, velvet, trimmed with aged gold. And of course, dominating the auditorium in the very center, is the famous Shandaliya you have heard so much about. Immortalized by Luhu in his novel Phantom of the Opera, it is a behemoth. It's seven tons of bronze and crystal demand attention from every person in the auditorium. As if to say, this is the most important room in all of Paris. As you regard the Shandaliya, a feminine voice calls out, its marvelous, isn't it?

Starting point is 00:38:12 You turn your gaze in the direction of the sound. There, on the well-worn boards of the stage, Born boards of the stage is a woman in a lovely white silk dressing gown. Her long hair tumbles over her shoulders in a shower of curls. As if you are well acquainted, she continues. You know, some people complained about that chandelier. They said it blocked their view from the fourth floor boxes. She laughs quietly, and goes on. Gahniye didn't mind them. He said, what else could fill the theatre with such joyous life. What else could offer the variety of forms that we have in the

Starting point is 00:39:07 pattern of the flames? In these groups and tiers of points of light, these wild hues of gold flecked with bright spots, and these crystalline highlights. The quote brings a smile to your face. If there's one thing you've learned about the architect of the Palais Gagne, it's that he liked to put on an impressive show. As if reading your thoughts, the woman continues. You know that Gahneer was trying to make this the center of the arts world. Did you notice the statue of Apollo on the roof holding up a liar? You not, even though you realize you hadn't thought much about it, you had found the exterior of the opera house rather overwhelming on first encounter.

Starting point is 00:40:12 She goes on, saying, the liar is everywhere, of course. I think perhaps I noticed you observing that in the Grand Foye. She surveys the auditorium and goes on. Yes, it's all quite a show. You look around and you see endless varieties of marble, stucco, velvet, gilding, statuary. This monument of Paris required 73 sculptors to decorate it. But underneath it all there's a framework of iron. It's what keeps this entire daring performance standing. Then, with a small, mirthful sound she adds, the show must go on. With all the time they spend watching each other, I doubt the patrons realize the scope

Starting point is 00:41:18 of what's really happening on the stage. She relates with a tinge of humour in her voice. If you had any doubt that you had really seen the trail of her white dressing gown, or notice the ghost of her perfume in the Grand Forier, that question has now been answered. She's so real to you that you could almost reach out and touch her. You watch her to see what she will do next. She starts walking slowly to the center of the stage, her arms outspread. The behind the scenes world here is as vast as the public spaces. Pointing downward, dramatically, she adds. Garnier actually designed the stage so that a set

Starting point is 00:42:18 almost 50 feet tall could be lowered underneath. She stops and lightly claps her hands together as if remembering something all of a sudden. Oh, but he had a little problem when he started construction, she says with a smile. It turned out that a branch of the sin was lying in weight under the building site, and they had to create a reservoir to keep it from filling up the area under the stage. Having said that, she looked sober and seems to be lost in her thoughts for a moment. Then she begins to sing like it is part of her script. Her glorious voice soars through the auditorium, climbing upward and traveling to the farthest boxes as if sweetly greeting each person who might have been sitting in the room, it is the most beautiful area you have ever heard.

Starting point is 00:43:33 You have no sense of how long it goes on, but you are lost in it, never wanting the song to end. When her voice finally fades out, you stand for a moment in silence. She drops her head and looks at the stage and then raises her face to you again. Picking right up where her thoughts and left off, she resumes her monologue. Yes, it's really what's hidden here that counts, she says wistfully. It's the angel of music that inspires the art. He's the very foundation of the Palais Gahne, where the underground lagoon rests, where the wellspring of creativity resides. Then, with a small gesture at the boxes on the upper levels, she adds,

Starting point is 00:44:38 he's got his own box. It's Box 5. Did you know? He requires that the manager of the opera hold that box for him at all times, so he can see me sing. He can see me channeling his genius, his inspiration. Then she smiles dreamily, adding, my art. Then magically, as often happens in dreams, you are standing near her on the stage. She is a vision, almost translucent in her delicate beauty. You have the idea that she might disappear if you reached out.

Starting point is 00:45:33 Smiling sweetly at you, she says, shall I show you what the underground lagoon looks like? You nod your head, yes, because you cannot imagine saying no. As if unsurprised by this answer, she holds up her palm and passes it in front of your face in a graceful sweeping motion. all at once the auditorium vanishes and you see a vision of a mysterious underground world. You feel perfectly safe, you are seeing it but you are not physically present. It is like a lake, but you know that it is underneath the opera. The ceiling is vaulted and made of brick. Torches hang on the walls, casting a romantic glow over the entire chamber. Water, the colour of midnight, laps gently at the edges, where a boat is tied up.

Starting point is 00:46:50 Then, faintly, you once again hear the plaintive tones of a violin. It is a melody so passionate that you are quite swept up in it, the sense of soothing darkness, the quiet, the gentle waters, and the melody of this violin become one. In this moment, you, too, can understand the genius of this angel of music and his muse. Slowly, the shimmering underwater retreat fades before your eyes and another scene materializes. You are standing in a small room that is lit by gas lamps. There are two chairs here and elaborate costumes hang nearby. A full length mirror stands in the corner.

Starting point is 00:47:58 To your left, there is a dressing table covered in small pots of makeup. You realize the woman in the white dressing gown is with you. Home sweet home she gestes lightly, motioning to the dressing room. You understand somehow that she really feels that way. Then, spying a small clock on the table, she appears to notice the time. Following her gaze, you see it is exactly 12 o'clock. I have to go now, she says almost brightly.

Starting point is 00:48:46 It's been lovely visiting with you. I hope the opera was everything you dreamed of. Then she points to the door. You'll find your way out with no trouble. You look at the door and when you turn back around, she is gone. At the last second, you could swear you see the reflection of her gown disappearing in the full length mirror. You turn to the door and open it. You expect to see a dark hallway but instead you find yourself back at the

Starting point is 00:49:29 foot of the grand staircase. As if awakening from a dream you are now once again standing in the glowing light of the vestibule in front of Gahnya's soaring masterpiece of marble and gold. As you gaze up into the soaring heights above it, he once again hear the familiar music of the lone violinist. It swells and surrounds you until it seems to be in every part of the room at once. It sweeps you up, you close your eyes as if that will help you experience it more fully. You hope if you concentrate hard enough that will somehow make you more a part of this performance. You wish you could quietly go unnoticed and stay here in the Pailegahignir as long as

Starting point is 00:50:38 you'd like. When you look again, the opera is no longer there. You are lying on your friend's comfortable sofa snuggled into the blankets. The chandeliers and candelabras are gone. The only light in the room comes from the street lamps outside. However, one thing is still with you. It's the sound of the violin. Somewhere outside this apartment in Paris, down the street, This apartment in Paris, down the street, a musician is playing. The music rises to your window and, along with the lamp light, it promises to keep you company.

Starting point is 00:51:40 Smiling to yourself, you turn over and nestle down into your pillow. You are so sleepy, your limbs are so heavy and warm. And then, swept gently away by the street musician's melody. You dream again. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing.

Starting point is 00:52:47 I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. ... I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. ... ... I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room.

Starting point is 00:54:28 I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room.

Starting point is 00:54:44 I'm going to go to the next room. I'm going to go to the next room. ... ... you you you you you I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. ... you you you

Get Sleepy: Sleep meditation and stories - A Dream of the Opera and its Phantom

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