The Hunchback of Notre-Dame (French: Notre-Dame de Paris, "Our Lady of Paris") is a novel by Victor Hugo published in 1831. The French title refers to the Notre Dame Cathedral in Paris, around which the story is centered.
Hugo began to write Hunchback in 1829. The agreement with his original publisher, Gosselin, was that the book would be finished that same year. However, Hugo was constantly delayed due to the demands of other projects. By the summer of 1830, Gosselin demanded the book to be completed by February 1831. And so beginning in September 1830, Hugo worked non-stop on the project; he bought a new bottle of ink, a woollen cloak, [citation needed] and cloistered himself in his room refusing to leave his house (except for nightly visits to the cathedral). The book was finished six months later.
Synopsis
The story dates back to January 6, 1482 in Paris, France, the day of the 'Festival of Fools' in Paris. Quasimodo, the deformed bell-ringer of Notre Dame, is introduced by his crowning as Pope of Fools.
Esmeralda, a beautiful Gypsy with a kind and generous heart, captures the hearts of many men but especially those of Quasimodo and his adopted father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his lust and the rules of the church. He orders Quasimodo to kidnap her and then abandons him when he is caught and whipped and ordered to be tied down in the heat. Esmeralda, seeing his thirst, offers the hunchback water. It saves her, for she captures the heart of Quasimodo.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo attempted to kill in jealousy, and is sentenced to death by hanging. Crazy with frustrated lust, Frollo has her condemned to death when she refuses to be his. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary. Clopin rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda. The King, seeing the chaos, vetoes the law of sanctuary and commands his troops to take Esmeralda out and kill her. When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Frollo betrays Esmeralda by handing her to the troops and watches while she is hanged. Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to a mass grave, lies next to her corpse, crawls off to Esmeralda's tomb with his arms around her body and eventually dies of starvation. Two years later, excavationists find the skeletons of Esmeralda with a broken neck and Quasimodo locked in an embrace.
Characters
Major
* Quasimodo, the titular protagonist of the story. He is a barely verbal hunchback bell-ringer of Notre Dame. Ringing the church bells has made him deaf. When he was a hideous and abandoned baby, he was adopted by Claude Frollo. Quasimodo's life within the confines of the cathedral and his only two outlets—ringing the bells and his love and devotion for Frollo—are described. He ventures outside the Cathedral rarely, since people despise and shun him for his appearance. The notable occasions when he does leave are his taking part in the Festival of Fools—during which he is elected Fools'-Pope due to his perfect hideousness—and his subsequent attempt to kidnap Esmeralda, his rescue of Esmeralda from the gallows, his attempt to bring Phoebus to Esmeralda, and his final abandonment of the cathedral at the end of the novel. It is revealed in the story that the baby Quasimodo was left by the Gypsies in place of Esmeralda, whom they abducted.
* Esmeralda, the protagonist of the story. She is a beautiful young barefoot Gypsy dancer, innocent, close to nature, and naturally compassionate and kind. She is the center of the human drama within the story. A popular focus of the citizens' attentions, she experiences their changeable attitudes, being first adored as an entertainer, then hated as a witch, before being lauded again for her dramatic rescue by Quasimodo; when the King finally decides to put her to death, he does so in the belief that the Parisian mob want her dead. She is loved by both Quasimodo and Claude Frollo, but falls deeply in love with Captain Phoebus, a handsome military man who only has a passing infatuation with her and whom she believes will protect her. She is the only character to show the hunchback a moment of human kindness: as he is being whipped for punishment and jeered by a horrid rabble, she approaches the public stock and gives him a drink of water. Because of this, he falls fiercely in love with her, even though she is too disgusted by his ugliness even to let him kiss her hand.
* Claude Frollo is the Archdeacon of Notre Dame. Despite his celibacy vows as a priest, he finds himself madly in love with Esmeralda. He nearly murders Phoebus in a jealous rage from seeing Phoebus on top of Esmeralda. He is killed when Quasimodo pushes him off the cathedral. His dour attitude and his alchemical experiments scared and alienated him from the Parisians, who believed him a sorcerer, and so he lived without family, save for Quasimodo and his spoiled brother Jehan. He serves as the novel's main antagonist.
* Pierre Gringoire is a struggling poet. He mistakenly finds his way into the "Court of Miracles", the secret lair of the Gypsies. In order to preserve the secrecy, Gringoire must either be killed by hanging, or marry a Gypsy. Although Esmeralda does not love him, and in fact believes him a coward rather than a true man (he, unlike Phoebus, failed in his attempt to rescue her from Quasimodo), she takes pity on his plight and marries him—although, much to his disappointment, she refuses to let him touch her.
* Phoebus de Chateaupers is the Captain of the King's Archers. After he saves Esmeralda from abduction, she becomes infatuated with him, and he is intrigued by her. He is already betrothed, but just wants to lie with her. As he continues talking to and kissing her, Frollo comes from behind and stabs him. Esmeralda faints and upon waking up, finds that she has been framed with killing him. After the events of the novel, he suffers the 'tragedy' of marriage to the beautiful but spiteful Fleur-de-Lys de Gondelaurier.
* Clopin Trouillefou is the King of Truands. He rallies the Court of Miracles to rescue Esmeralda from Notre Dame after the idea is suggested by Gringoire. He is eventually killed during the attack by the King's soldiers.
Minor
* Djali (pronounced like "Jolly") is Esmeralda's pet goat. She performs tricks such as writing the word "Phoebus" in moveable letter-blocks, and tapping the number of beats to indicate the month and hour of the day. These tricks delight the citizens at first, but later horrify them, causing them to believe Esmeralda is a witch.
* Fleur-de-Lys de Gondelaurier is a beautiful and wealthy socialite engaged to Phoebus. Phoebus's attentions to Esmeralda make her insecure and jealous, and she and her friends respond by treating Esmeralda with contempt and spite. Fleur-de-Lys later neglects to inform Phoebus that Esmeralda has not been executed, which serves to deprive the pair of any further contact. Phoebus and Fleur-de-Lys marry at the end of the novel.
* Jehan Frollo is Claude Frollo's over-indulged, scallywag younger brother. He is a troublemaker and a student at the university. He is dependent on his brother for money, which he then proceeds to squander on alcohol. Quasimodo kills him during the attack on the cathedral.
* Sister Gudule, formerly named Paquette la Chantefleurie, is an anchorite, who lives in seclusion in an exposed cell in central Paris. She is tormented by the loss of her daughter Agnes, whom she believes to have been cannibalised by Gypsies as a baby, and devotes her life to mourning her. Her long-lost daughter turns out to be Esmeralda.
* Louis XI is the King of France. Appears briefly when he is brought the news of the rioting at Notre Dame.
* Tristan l'Hermite is a friend of King Louis XI. He leads the band that goes to capture Esmeralda.
* Henriet Cousin is the city executioner.
* Florian Barbedienne is the judge who sentences Quasimodo to be tortured. He is also deaf.
* Jacques Charmolue gets Esmeralda to falsely confess to killing Phoebus. He then has her executed.
Major themes
The original French title, Notre-Dame de Paris (the formal title of the Cathedral) indicates that the Cathedral itself is the most significant aspect of the novel, both the main setting and the focus of the story's themes. Nearly every event in the novel takes place in the cathedral, atop the cathedral or can be witnessed by a character standing within or atop the cathedral. The Cathedral had fallen into disrepair at the time of writing, which Hugo wanted to point out. The book portrays the Gothic era as one of extremes of architecture, passion, and religion. The theme of determinism (fate and destiny) is explored as well as revolution and social strife. The severe distinction of the social classes is shown by the relationships of Quasimodo and Esmeralda with higher-caste people in the book. Hugo is also very concerned with justice, and description of religious fanaticism.
The main theme as said in the Disney's adpatation is "Who is the Monster and who is the Man?????"
Architecture
Architecture is a major concern of Hugo's in Notre-Dame de Paris, not just as embodied in the cathedral itself, but as representing throughout Paris and the rest of Europe an artistic genre which, Hugo argued, was about to disappear with the arrival of the printing press. Claude Frollo's portentous phrase, ‘Ceci tuera cela’ ("This will kill that", as he looks from a printed book to the cathedral building), sums up this thesis, which is expounded on in Book V, chapter 2. Hugo writes that ‘quiconque naissait poète se faisait architecte’ ("whoever is born a poet becomes an architect"), arguing that while the written word was heavily censored and difficult to reproduce, architecture was extremely prominent and enjoyed considerable freedom.
Il existe à cette époque, pour la pensée écrite en pierre, un privilége tout-à-fait comparable à notre liberté actuelle de la presse. C'est la liberté de l'architecture.
There exists in this era, for thoughts written in stone, a privilege absolutely comparable to our current freedom of the press. It is the freedom of architecture.
—Book V, Chapter 2
With the recent introduction of the printing press, it became possible to reproduce one's ideas much more easily on paper, and Hugo considered this period to represent the last flowering of architecture as a great artistic form. As with many of his books, Hugo was interested in a time which seemed to him to be on the cusp between two types of society.
Literary significance and reception
The enormous popularity of the book in France spurred the nascent historical preservation movement in that country and strongly encouraged Gothic revival architecture. Ultimately it led to major renovations at Notre-Dame in the 19th century led by Eugène Viollet-le-Duc. Much of the cathedral's present appearance is a result of this renovation.
Allusions and references
Allusions to actual history, geography and current science
In The Hunchback of Notre Dame, Victor Hugo makes frequent reference to the architecture of the Cathedral of Notre Dame in Paris.
He also mentions the invention of the printing press, when the bookmaker near the beginning of the work speaks of "the German pest."
Victor Hugo lived a few homes away from Victor of Aveyron, the first well-documented feral child, although the inspiration for Quasimodo's character is not directly linked to him.
Allusions in other works
The name Quasimodo has become synonymous with "a courageous heart beneath a grotesque exterior."
Film, TV, or theatrical adaptations
To date, all of the film and TV adaptations have strayed somewhat from the original plot, some going as far as to give it a happy ending. The 1956 film is one of the only ones to end exactly like the novel, although it changes other parts of the story. Unlike most adaptations, the Disney version has the ending that's inspired by an opera created by Hugo himself.
Film
* Esmeralda (1905 film)
* The Hunchback of Notre Dame (1911 film)
* The Darling of Paris (1917 film)
* Esmeralda (1922 film)
* The Hunchback of Notre Dame (1923 film)
* The Hunchback of Notre Dame (1939 film)
* The Hunchback of Notre Dame (1956 film)
* The Hunchback of Notre Dame (1996 film)
* The Hunchback (1997 film)
* Quasimodo d'El Paris (1999 film)
* Saeed Khan Rangeela a Pakistani comedian turned director made a movie named Kubra Aashiq in 1973 inspired from The Hunchback of Notre-Dame, with himself in the lead role of Quasimodo. However it did not fulfill the expectations of the audience and literary circles also did not appreciate it.
Television
* The Hunchback of Notre Dame (1966 film)
* The Hunchback of Notre Dame (1977 film)
* The Hunchback of Notre Dame (1982 film)
* The Hunchback of Notre Dame (1986 film)
Theatre
* In 1977, an adaptation by Ken Hill was commissioned and staged by the National Theatre in London.
Music
* The Hunchback of Notre Dame by Alec R. Costandinos and the Syncophonic Orchestra from 1977, a lush orchestral disco 28 minute epic re-telling the tale of Quasimodo and Esmeralda.
Musical theatre
* Opera "La Esmeralda", by Louise Bertin (1836), libretto by Victor Hugo.
* Opera "Esmeralda", by Arthur Goring Thomas (1883) based on the Victor Hugo novel.
* Opera Esmeralda, by Dargomyzhsky (1847), also based on the same Victor Hugo novel.
* "Notre Dame", romantic Opera in two acts, text after Victor Hugo by Franz Schmidt and Leopold Wilk; composed: 1902-4, 1st perf.: Vienna 1914
* The Hunchback of Notre Dame (1993), an Off Broadway musical with music by Byron Janis, lyrics by Hal Hackady and book by Anthony Scully
* The Hunchback of Notre Dame (1993), a dramatic sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. After a production at the Mermaid Theatre in London it was published by Samuel French Ltd in 1997 and has received several UK productions as well as productions in New Zealand and Australia. In 2010 it was re-written as a conventional musical, with the new title Notre Dame.
* In 1999, "Notre Dame de Paris (musical)" opened in Paris and became an instant success. It is considered the most successful adaptation of any novel except for "The Phantom of the Opera" and "Les Misérables." It was also adapted for the stage by Nicholas DeBaubien.
* From 1999 to 2002, the Disney film was adapted into a darker, more Gothic musical production called Der Glöckner von Notre Dame (translated in English as The Bellringer of Notre Dame), re-written and directed by James Lapine and produced by the Disney theatrical branch, in Berlin, Germany. A cast recording was also recorded in German. There has been discussion of an American revival of the musical.
* A rock musical version was released in Seattle, Washington in 1998 titled "Hunchback" with music and script by C. Rainey Lewis.
* A musical version, scored by Dennis DeYoung, will open in Chicago at the Bailiwick Reperatory in the summer of 2008
Ballet
* Notre-Dame de Paris A ballet choreographed by Roland Petit. First performed in 1965 at the Paris Opera.
* The Hunchback of Notre Dame (1998) – choreography and direction by Michael Pink and original music score by Philip Feeney. Currently in the repertoire of Milwaukee Ballet, Boston Ballet, Royal New Zealand Ballet, Atlanta Ballet and Colorado Ballet.
* Ringaren i Notre Dame (Swedish for The Bellringer of Notre Dame; 2009) – choreography by Pär Isberg and original music score by Stefan Nilsson. Its first performance was on 3 April 2009, by the Royal Swedish Ballet at the Royal Swedish Opera, Stockholm.
Radio
The book was twice adapted and broadcast by BBC Radio 4 as its Classic Serial:
* in 5 parts from 6 January to 3 February 1989, with Jack Klaff as Quasimodo
* in 2 parts on 30 November and 7 December 2008, with deaf actor David Bower playing Quasimodo.
Translation history
The Hunchback of Notre-Dame has been translated into English many times. Translations are often reprinted by various publisher imprints. Some translations have been revised over time.
* 1833. Translated by Frederic Shoberl as The Hunchback of Notre Dame. Later revisions.
* 1833. Translated by William Hazlitt as Notre Dame: A Tale of the Ancien Regime. Later revisions.
* 1888. Translated by Isabel F. Hapgood as Notre-Dame de Paris.
* 1895. Translated by M.W. Artois et al., part of the 28-vol The Novels of Victor Hugo, re-printed in the 20th century under other titles.
* 1964. Translated by Walter J. Cobb. In multiple editions, see for example Signet Classics ISBN 0451527887, Pub date 10 April 2001, paperback.
* 1978. Translated by John Sturrock. In multiple editions, see for example Penguin Classics ISBN 0140443533, Pub date 26 October 1978, paperback.
* 1993. Translated by Alban J. Krailsheim as Notre-Dame de Paris. See Oxford World's Classics ISBN 978-0199555802
* 2002. Revised translation by Catherine Liu of an anonymous 19th century translation. See Modern Library Classics ISBN 0679642579, Pub date 8 October 2002.
This list is incomplete; you can help by expanding it.
Quotations
* A description of Quasimodo upon his election as the fool's pope: "We shall not attempt to give the reader an idea of that tetrahedron nose- that horse-shoe mouth- that small left eye over-shadowed by a red bushy brow, while the right eye disappeared entirely under an enormous wart- of those straggling teeth with breaches here and there like the battlements of a fortress- of that horny lip, over which one of those teeth projected like the tusk of an elephant- of that forked chin- and, above all, of the expression spread over all this-that expression of mingled malice, amazement and sadness." (p. 62)
* On the connection between architecture and culture: "When a man understands the art of seeing, he can trace the spirit of an age and the features of a king even in the knocker on a door." (p. 184)
* Quasimodo's reaction to Esmeralda's gift of a drink of water while he is being heckled on the pillory: "Then from that eye, hitherto so dry and burning, was seen to roll a big tear, which fell slowly down that deformed visage so long contracted by despair. Perhaps it was the first that the unfortunate creature had ever shed." (p. 322)
* Quasimodo, explaining why he won't enter Esmeralda's cell: "The owl goes not into the nest of the lark." (p. 502)
* After Esmeralda's execution: "Quasimodo then lifted his eye to look upon the Gypsy girl, whose body, suspended from the gibbet, he beheld quivering afar, under its white robes, in the last struggles of death; then again he dropped it upon the archdeacon, stretched a shapeless mass at the foot of the tower, and he said with a sob that heaved his deep breast to the bottom, 'Oh-all that I've ever loved!'"
【中文名称】巴黎圣母院 【英文名称】Notre Dame de Paris
【外文片名】The Hunchback of Notre Dame
【影片类型】恐怖影片
【影片时长】115分钟
【拍摄国家】法国、意大利
【对白语言】法语
【色彩】彩色
【幅面】35毫米胶片变形宽银幕
【混音】单声道
【评级】Rated PG for violence and sensuality
【级别】Argentina
【版权所有】Paris Film Production（法国国际电影公司）
【拍摄时间】1956年4月16日~1956年8月11日
【摄制格式】35 毫米
【洗印格式】35毫米电影海报
【制作公司】Panitalia Paris Film Productions
【发行公司】Allied Artists Pictures Corporation [美国]
Cocinor [法国]
【制作人】Raymond Hakim .....producer
Robert Hakim .....producer
剧组人员
【导演】让·德拉努瓦（Jean Delannoy）
【编剧】维克多·雨果 Victor Hugo .....(novel)
【改编】Jean Aurenche .....&
Jacques Prévert
Ben Hecht .....uncredited
【演员】
Gina Lollobrigida（吉娜·劳洛勃丽吉达 ）.....Esmeralda
Anthony Quinn .....Quasimodo
Jean Danet .....Capitaine Phoebus de Chateaupers
Alain Cuny .....Claude Frollo
Robert Hirsch .....Gringoire
Danielle Dumont .....Fleur de Lys
Philippe Clay .....Clopin Trouillefou
Maurice Sarfati .....Jehan Frollo
Jean Tissier .....King Louis XI
Valentine Tessier .....Aloyse de Gondelaurier
Jacques Hilling .....Charmolue
Jacques Dufilho .....Guillaume Rousseau
Roger Blin .....Mathias Hungadi
Marianne Oswald .....Falourdel
Roland Bailly .....Torterue
Piéral .....Le nain
Camille Guérini .....Le président du tribunal
Damia .....La mendiante
Robert Lombard .....Jacques Coppenole
Albert Rémy .....Jupiter
Hubert de Lapparent .....Guillaume de Harancourt
Boris Vian .....Le cardinal
Madeleine Barbulée .....Madame Outarde
Albert Michel .....Le veilleur de nuit
Daniel Emilfork .....Le rouge
Michel Etcheverry .....L'archidiacre (as Etcheverry)
Dominique Davray .....La Charonne
Yvette Lucas .....Rongeoreille
Denise Carvenne .....La tapissière
Jacques Bertrand .....Bellevigne de l'Etoile
Paul Bonifas .....Maître Le Cornu (uncredited)
Christine Darvel .....(uncredited)
Jenny Doria .....(uncredited)
Georges Douking .....Un tire-laine (uncredited)
Pierre Fresnay .....Récitant/Narrator (voice) (uncredited)
Christine Langart .....(uncredited)
Anne Laurent .....(uncredited)
Jean Martin .....Un tire-laine (uncredited)
Louisette Rousseau .....(uncredited)
Françoise Vallery .....(uncredited)
各地上映日期
【法国】1956年12月19日
【意大利】1956年12月19日
【西德】1957年2月22日
【瑞典】1957年7月29日
【美国】1957年11月3日
【芬兰】1960年3月25日
【东德】1972年2月18日
【芬兰】1974年2月22日
【俄罗斯】2003年6月21日
【中国】2008年1月5日
剧情介绍
版本一
美丽善良的吉普赛姑娘埃斯米拉达白天靠跳舞卖艺为生，晚上则和一群自称“乞丐王国”的穷苦人居住在一起。埃斯特拉达的美貌倾国倾城，却给她引来了杀身之祸。
国王卫队的队长菲比斯原本已有未婚妻，却垂涎于埃斯米拉达的美色，骗取了她的芳心。就在菲比斯和埃斯米拉达在旅馆幽会时，突然菲比斯被一个神秘的黑衣人刺伤。由于黑衣人没有被找到，旅馆老板的供词又对埃斯米拉达非常不利，在法庭上，埃斯米拉达受刑后被迫招供，承认是她想杀害菲比斯。埃斯米拉达因此被判绞刑。
其实那个隐藏在黑暗角落里的黑衣人是巴黎圣母院的神父弗罗洛。他孤僻刻薄，表面上是个对女人厌恶的忠诚的教徒，内心却一直燃烧着熊熊烈火，渴望得到美丽的埃斯米拉达，是他在看到埃斯米拉达和菲比斯约会时无法控制自己的嫉妒，刺伤了菲比斯。
在埃斯米拉达被送往绞刑架的路上，巴黎圣母院的敲钟人卡西莫多将她救下带入圣母院避难。卡西莫多外表丑陋无比，从小被弗罗拉神父收养。但他心地善良，并真心地爱着埃斯米拉达。在圣母院中，卡西莫多就是埃斯米拉达的守护神。
国王的卫队开始进攻圣母院捉拿埃斯米拉达，卡斯莫多誓死保护。但他一个人的力量必定有限，埃斯米拉达被乱箭射死。卡西莫多看到她的尸体被拉走，悲痛欲绝，他把真正的凶手——弗罗拉神父从圣母院的顶层扔了下去。
卡西莫多找到放置埃斯米拉达尸体的地方，紧紧地抱着自己心爱的姑娘。多年后，人们发现了两具缠绕在一起尸骨，当人们想要将他们分离时，这两具尸骨顿时化作了灰尘消失得无影无踪。
版本二
本片根据法国大文豪维克多尔果名著《巴黎圣母院》改编。丑聋人卡利摩多被巴黎圣母院的神父罗德收养，做撞钟人，外貌正经的克罗德神父自从遇见美丽的吉普赛少女爱斯梅拉达后，被其美色所诱而神魂颠倒，指使卡利摩多强行掳走爱斯梅拉达，途中被非必斯骑兵上尉队长所救，爱斯梅拉达因而爱上了非必斯。但非必斯生性风流，被怀恨在心的克罗德刺杀。并嫁祸于爱斯梅拉达，令她被判死刑，行刑时，卡利摩多将爱斯梅拉达救走并藏身于圣母院中，乞丐群众为救爱斯梅拉达而冲入教堂，误与卡利摩多大战，爱斯梅拉达被由克罗德带领的军队冲入圣母院所杀，最后卡利摩多愤然将克罗德从教堂顶楼摔落地下，最后卡利摩多抚着爱斯梅拉达的尸体殉情。
版本三
这部雨果名著曾被多次搬上银幕，其中1939年的美国版被广泛认为是最佳版本，其中的德国表现主义布景尤其值得称道。纯洁美丽的吉普赛女郎艾斯美拉达，和“乞丐王国”的人一起，到处卖艺行乞。一次，为了救流浪诗人甘果瓦，她被迫嫁给了他。国王的卫队长菲比斯是个花花公子，他骗取了艾斯美拉达的爱情。就在他们约会时，一个黑衣人将菲比斯刺伤。艾斯美拉达作为嫌疑犯被送上法庭，并判处绞刑。奇丑无比的巴黎圣母院的撞钟老人卡西莫多将她救了出来，并带进教堂避难，卡西莫多一直深爱着她。在一次混乱中，艾斯美拉达被国王卫队 的乱箭射死，悲痛欲绝的卡西莫多转身将真正的杀人凶手也就是弗洛洛神父，从圣母院的顶楼扔了下去。之后与艾斯美拉达的尸体紧紧地抱在一起，一起化为了尘土。
内容详介
1482年，法王路易十一统治下的巴黎城沉浸在“愚人节”的狂欢的气氛中。巴黎圣母院前面的广场上，来自埃及的吉卜赛少女爱斯梅拉达以动人的美貌和婀娜的舞姿博得了人们热烈地喝彩。她把人们给她的赏钱，分给穷苦的孩子们，并对他们说：“把这些钱全部拿去，你们去过节吧！”孩子们问她：“那你怎么办？”她说：“别管我，我天天都在过节。”
在众多的观众中，一个面色苍白的中年人，穿着黑色的教袍，躲在玻璃窗后面，也在偷看爱斯梅拉达翩翩起舞。他就是巴黎圣母院的副主教、炼金术士克洛德·弗罗洛。当他看到色艺双全的吉卜赛女郎边唱边跳，她那轻快的舞步，绝妙的舞姿，把他埋藏在心底十多年的欲念突然唤醒了。他无法自控，无法把俘虏了他的灵魂的魔鬼赶走。为了排遣心中的烦闷，他到广场上驱赶正在叫卖的摊贩，声言不准在教堂前面胡闹。这些小贩哪里把他放在眼里，群起而攻之。正在这时，从教堂内冲出来一个相貌奇丑、身材高大、力大无比的男子，他推开众人，救回了神甫。此人名叫卡西莫多。原来他是一个被父母遗弃在巴黎圣母院门前的畸形儿，弗罗洛出于怜悯把他抚养成人，因终日敲钟而震聋了耳朵。狂欢的人们正在物色“愚人教皇”，爱斯梅拉达一眼看中了又聋又丑的钟楼怪人卡西莫多。人们给他戴上王冠，披上袍子，还给了他一支口哨，让他坐在高高的轿子上沿街游行。卡西莫多正高兴地吹着哨子，忽然看见脸色阴沉的弗罗洛站在轿前。神甫打掉他的王冠，把他拉回圣母院。
傍晚时分，爱斯梅拉达带着她心爱的小山羊离开节日的广场。好奇的甘果瓦一直跟着。行至广场旁的一条小巷，忽然孚罗诺和加西莫多蹿了出来，欲将爱斯梅哈尔达强行抢走。少女大呼救命，甘果瓦吓得不敢动弹。正在危急时刻，路过的王家侍卫长弗比斯救下了少女。孚罗诺趁卫队与加西莫多争打时溜走了，伽西莫多被卫队擒获。从此，爱斯梅拉达爱上了弗比斯。
在这“奇迹王朝”统治下的“黑话王国”里，乞丐王克劳班正在审理不懂切口而误入“王国领地”的穷诗人甘果瓦。按照王朝的规矩，他只有两种选择：要么跟绞索配对，要么跟王国中的女人攀亲。可是几个老女人都嫌他过于单薄，没一个人肯要他。这样，甘果瓦只能被吊死。在这千钧一发之际，爱斯梅拉达挺身而出，高喊“我要他”。这样，两人当场举行婚礼。善良的少女同意与他结为夫妻，只是为了救他一命，把他带回家中，供以食宿，但不与他同房。
犯了强抢民女罪的卡西莫多，在被草草审理后，被带到广场上当众鞭笞。跪在烈日下代人受过的钟楼怪人口渴难熬，他向士兵和围观的人群高喊要水，回答他的却是一片戏弄和辱骂。这时，美丽的爱丝美拉达拨开众人，把水送到伽西莫多的嘴边。
广场上，穷诗人帮助爱斯梅拉达上演小山羊认字的节目。小山羊在一堆拉丁字母中，叼出了太阳神弗比斯的名字。这时弗比斯正在广场旁边的王宫中向王后和她的女儿献媚取宠。公主百合花让法比到广场上，赶走爱丝美拉达，以证实他对她的爱情。弗比斯骑马来到广场，大声轰赶着正在演出的艺人，小声和爱斯梅拉达订下了今晚在老地方见面的幽会。
心神不宁的弗罗洛听说甘果瓦和姑娘已结为夫妇，怒火中烧十分生气，当得知他们只是名义夫妻，又转忧为喜。他在街上遇见喝得烂醉的侍卫队长弗比斯，听他说要去和姑娘幽会，立即正言劝阻，声言姑娘已是有夫之妇，但弗比斯反驳说：“你何必把爱情和婚姻混为一谈。”他径直向那家旅店走去，弗罗洛像影子一样紧随其后。
弗比斯来到旅店的小楼上，爱斯梅拉达正坐在床边等着他。当他们热烈地吻抱时，弗比斯把系在身上的匕首交给姑娘，姑娘顺手把它抛出窗外。恰巧这把匕首落在正在窗外窃听的弗罗洛的眼前。当这对情人再次热烈拥抱时，弗罗洛拾起匕首，从窗外把它刺进了弗比斯的后背。
在审判爱丝美拉达的法庭上，旅店的侏儒老板作证说，看见一个浑身硫磺味的黑衣人，像魔鬼一样，把银币变成了干树叶。坐在审判席上的弗罗洛说：“是魔鬼，而不是这位姑娘刺杀了卫队长。”无辜的爱斯梅拉达只关心卫队长的生死，因为弗比斯可以证明她把匕首扔出了窗外。可是法庭告诉她，卫队长不仅活着，而且对被害经过一无所知。他丝毫不肯为姑娘开脱罪责，这使爱斯梅拉达十分失望。在酷刑之下，姑娘屈打成招，供认自己施用魔术驱使黑衣魔鬼刺杀了卫队长。法庭判处姑娘绞刑，次日执行。
卡西莫多敲钟之后，在塔楼上看到弗罗洛神色紧张地注视着圣母院门前的广场。穿着白色死刑犯袍子的爱斯梅拉达站在夜间匆忙搭起的绞刑架下，绞索套在脖子上，平静地等待着行刑的时刻。伽西莫多不顾一切地从门内冲出，把姑娘抢进了巴黎圣母院。行刑的士兵惊魂甫定，目瞪口呆地看着钟楼怪人独自一人劫持了法场。因为圣母院避难权的原因，士兵们不敢擅入。
伽西莫多把姑娘藏在自己的住房里，他像守护神一样睡在房门口。他把愚人节得到的哨子交给姑娘，告诉她遇到危难时，一吹哨子，他就能赶来救援。
弗罗洛到郊外像发了疯一样，乱跑了一阵之后，回到了圣母院。他发现爱斯梅拉达不但未被处死，而且就在身边。他跟随她走进了卡西莫多的房间，爱丝美拉达发现这个人就是刺杀弗比斯的黑衣人，十分怒火。当弗罗洛正要强奸她时，她吹起了哨子。卡西莫多闻声而至，赶走了昔日的恩人，并告诉姑娘那次抢她的事，也是出于他的主意。
卡西莫多对爱斯梅拉达怀有无限的感激和纯真的爱慕之情。他快活地看着熟睡的美人，突然醒来的姑娘被他的丑脸吓坏了。卡西莫多急忙逃走，跑到钟楼上用自己的头拼命地撞击着大钟，低沉的钟鸣如泣如诉。爱斯梅拉达来到他身边，卡西莫多用手蒙住脸，喃喃地说：“我的脸很丑，总让人害怕。”为了安慰他，姑娘为他跳起了节奏欢快的舞蹈。兴奋异常的卡西莫多，像打秋千一样，用身体的重量为姑娘敲响了圣母院的大钟。他爽朗的笑声充满整个钟楼。卡西莫多在钟楼上牵着绳子飞来飞去，为爱斯梅拉达采摘盛开的鲜花。突然姑娘发现了在广场上的卫队长，她叫他的名字，但他头也不抬看她一眼。她让卡西莫多去找他，可是他为了得到公主丰厚的陪嫁和位于圣保罗的领地，对姑娘的请求不屑一听，策马而去。善良的卡西莫多觉得自己辱没了姑娘的使命。
对姑娘强占未成的弗罗洛怀恨在心，跪到国王那里，请示如何解决圣母院避难权问题。国王请教了一位尚在狱中的老学者，终于决定可以不顾避难权，强入圣母院捉拿女巫。伽西莫多趁弗罗洛外出时，把教堂的大门紧紧关住。
乞丐王克劳班听说圣母院避难权将要结束，率领成千上万的巴黎流浪人和乞丐，前来攻打巴黎圣母院，营救大难临头的姐妹。不明真相的伽西莫多怎容这些人冲入教堂，他从楼顶上扔下巨大的石条石块，翻倒灼热的金属液体，企图驱散众人。勇敢的乞丐终于攻破大门，救走了爱斯梅拉达。不料严阵以待的国王士兵已从后门进入教堂，雨点般的箭刺向爱斯梅拉达和流浪汉们。乞丐王也在混战中被人杀死。伽西莫多站在楼顶上，看着心爱的姑娘又被吊在绞刑架上，痛不欲生。当他发现弗罗洛正在钟楼上对着爱斯梅拉达狞笑，就把这个道貌岸然的野兽举过头顶扔了下去。
从绞刑架上解下来的爱斯梅拉达的尸体，被人们放在蒙孚贡大坟窟里，伽西莫多找到她之后，静静地躺在她身旁。两年之后，人们发现了两具紧紧抱在一起的尸骨。当人们试图分开他们时，尸骨便化为尘土。
人物形象
爱斯美拉达
爱斯美拉达纯洁无邪，热情天真，对爱情充满憧憬和渴望。正因为她以为世人都像她一样的真心实意地待人，所以当弗比斯在巡逻中偶然救了她后，她就把爱情献给了他。正因为她纯洁无邪地追求纯真的爱情和幸福的生活。所以至死爱着弗比斯，丝毫没有怀疑他会欺骗和背叛自己还幻想他还会再来搭救自己，其纯真令人心痛欲裂。
爱斯美拉达不畏强暴，品格坚贞。当她被诬陷而关在死囚牢房里时，当弗罗洛把她从圣母院钟楼骗出来时，弗罗洛几次让她在死亡或屈服中选择，面对弗罗洛的淫威，她宁死不屈。临刑前，弗罗洛以生为条件引诱她就范，她望着绞架断然回答“它还没有你那样使我害怕”、“讨厌的肮脏的妖僧!”“我要扯下你那可恶的白头发，一把一把往你脸上扔去!”“滚你的吧!”她宁愿选择绞架， 不屈服于卑鄙的伪君子弗罗洛，再次维护了自己的尊严和人格。
卡西莫多
卡西莫多有着丑到极点的相貌：几何形的脸，四面体的鼻子，马蹄形的嘴，参差不齐的牙齿，独眼，耳聋，驼背……似乎上帝将所有的不幸都降临在了他的身上。雨果塑造的绝不仅是一个简单的“丑八怪”，他赋予了卡西莫多一种“美丽”，一种隐含的内在美。卡西莫多的外貌丑陋，但是他的内心却是高尚的。他勇敢地从封建教会的“虎口”中救出了爱斯梅拉达，用“圣殿避难”的方法保住了姑娘的性命。在圣母院中，卡西莫多无微不至地照顾爱斯美拉达。最后，卡西莫多在众人的嘲笑声中戴上了“丑人王”的花环；他誓死保护爱斯美拉达却又是道貌岸然的克洛德的帮凶；他刚在钟楼上目视着自己心爱的姑娘嫁给了“绞架”，却又不得不再将自己的“再生父母”摔成碎片……作为一部浪漫主义著作，戏剧性的场面即给我们以扣人心弦的震撼，又把人物之间和自身内心和的矛盾冲突表现得淋漓尽致。
音乐剧海报
音乐剧——巴黎圣母院
当代罕见的旷世巨作，法语版音乐剧《巴黎圣母院》，一出改编自法文学巨擘雨果的不朽名著，由欧美乐界顶尖才子Luc Plamondon谱词，Richard Cocciante作曲，本剧率先于1998年1月的法国嘎纳唱片大展中绽放异彩，同年9月16号正式在巴黎国会大厅推出首演，撼动人心佳评如潮。首演未及两年，其魅力风潮迅速袭卷欧陆，此剧在法语系国家连演130场，盛况空前，同时荣获加拿大FELIX艺术奖项“年度剧作”、“年度最佳歌曲”与“年度最畅销专辑”多项殊荣。
19世纪的法国大文豪维克多·雨果偶然看到了巴黎圣母院墙上深深刻下的希腊字母“ΑΝΑΓΚΗ”，它代表了天数－命运之神“Destiny”，一部不朽的传世之作——《巴黎圣母院》就这样诞生了。本剧取材于这部世界名著，强烈而具有震撼力的现代音乐，极具视觉效果的舞台布景，尽情投入的表演，生动的表达出了原著中对教会和封建制度的揭露和鞭挞、对教会人士邪恶行径和贵族卑劣的精神道德的抨击、对人道主义仁爱精神的颂扬。巴黎圣母院剧中角色与场面充满对立及冲突：倾慕与狂恋，誓言与背叛，权利与占有，宿命与抗争，原罪与救赎，沉沦与升华，跌宕起伏的戏剧张力，建构成一部波澜壮阔血泪交织的悲剧史诗，跨越时代潮流与文化藩篱，开创当代音乐剧的新纪元。
基本资料
【作曲】Richard Cocciante
【法文作词】Luc Plamondon
【英文作词】Will Jennings
【原著】维克多·雨果Victor Hugo
【导演】Gilles Maheu
【编舞】Martino Muller
【布景设计】Christian Ratz
【服装设计】Fred Sathal
【灯光设计】Alain Lortie
【英文版首演】2000年元月24日美国拉斯维加斯
创作背景
当鲍伯利和勋伯格以《悲惨世界》(Les Miserables)与《西贡小姐》(Miss Saigon)造成轰动，来自法国的作品逐渐获得世人的喜爱。近年一部来自法国的音乐剧新作品，改编自雨果名著的《巴黎圣母院》，又在国际上引领瞩目的风潮。
雨果这位被誉为19世纪法国浪漫主义大文豪，除了《悲惨世界》之外，还创作了《巴黎圣母院》、《克伦威尔》等文坛名著，他的一生经历了漫长而动荡的历史时期，当时法国文坛正处于古典及浪漫主义冲突之际，他力主浪漫风格，以磅礴的气魄、丰富的想象力、华丽的词藻傲视文坛，更以曲折离奇的情节撼动读者心弦。《巴黎圣母院》讲述了这样的一个故事：担任全剧“主述”的游唱诗人葛林果，是吉普赛女郎艾斯梅拉达(Esmeralda)有名无实的丈夫，艾斯梅拉达出于同情心，为了让他免于被族人处死才允诺和他结婚。天生畸形、被巴黎圣母院收容而担任敲钟人的加西莫多(Quasimodo)，以及圣母院的副主教弗侯洛(Frollo)与侍卫队的队长腓比斯(Phoebus)，都情不自禁地爱上了美丽的艾斯梅拉达。一生侍奉天主的弗侯洛，明知男女之爱是神职人员的禁忌，仍然难以自拔。而腓比斯虽然已有娇美的未婚妻百合(Fleur-de-Lys)为伴，却因为生性风流而意图染指艾斯梅拉达。他们三个人共同合唱的“Belle”，在法国单曲市场创下了300万张的傲人成绩。加西莫多自惭形秽，只敢把爱意深埋心中。艾斯梅拉达爱上了腓比斯，引起弗侯洛的妒恨，他趁着艾斯梅拉达与腓比斯幽会时，刺伤了腓比斯，然后嫁祸给艾斯梅拉达，要胁她以身相许，否则就要将她处死。她拒绝服从，被送上了绞刑台。加西莫多奋不顾身到法场劫人，把她藏在圣母院中。不久，吉普赛人的领袖克娄潘率众攻打圣母院，意图解救艾斯梅拉达。腓比斯率领卫队击溃了吉普赛群众，克数潘被杀，葛林果取代了领导人的地位。自知无力对抗军队的加西莫多，让弗侯洛把艾斯梅拉达交给腓比斯，因为他以为腓比斯是来解救她的。未料及腓比斯由于不敢再触怒未婚妻，而宣布将艾斯梅拉达处死。悲愤之中，加西莫多把弗侯洛从钟楼顶端推下，然后去解救艾斯梅拉达，只可惜为时已晚。他哀求刽子手的同意，抱走了艾斯梅拉达的遗体，躲藏在巴黎公墓的地窖里，为艾斯梅拉达以死殉情。
这一故事永远是值得音乐剧作家们深入挖掘的好题材。以它为基本架构所改编的音乐剧有安德鲁洛伊韦伯的《歌剧魅影》、迪斯尼的《美女与野兽》和《巴黎圣母院》等等。和迪斯尼的大团圆结局版本不同，这出剧以悲剧收场，没有作大幅的删改，比较忠实于原著。
法国人抢先推出了法文版的音乐剧《巴黎圣母院》，据说是因为看见迪斯尼版本的首演居然是在柏林，心中颇为不平。这出剧由加拿大词曲家Luc Palmondon和法裔混血儿、欧洲原创歌手Richard Cocciante合作，于1998年在巴黎国会大厅首演。在伦敦上演之前，它的法语版本在1999年9月起进行了欧洲的巡回公演，其中包括法国、瑞士及比利时等法语系国家。公演十分成功，好评如潮，CD更是卖的如火如荼，一度脱销。10月起，此剧横跨大西洋，在加拿大法语区魁北克省开始巡回演出，又一次引起轰动。这出音乐剧的英语版从2000年元月起在美国拉斯维加斯演出半年，场场爆满。5月份，剧团正式移师伦敦西区，准备常驻此地，以期创造另一个奇迹。
特色
与众不同的音乐剧：
当今著名的音乐剧大多是由纽约百老汇和伦敦西区的演艺公司包装而成的，因此这些剧目也带有了百老汇和西区特有的风格特征和运作方式。而《巴黎圣母院》却是一个例外，它是少数几部闻名世界却没有受到百老汇和西区影响的著名音乐剧。
《巴黎圣母院》诞生于法国巴黎，远离纽约和伦敦，先天就没有受到百老汇和西区的影响。而作品诞生后，从包装到制作推销的整个过程，也全部是由法国公司全权包办的，而不像《悲惨世界》和《西贡小姐》那样在法国诞生，却由伦敦西区的公司来包装和运作。因而，《巴黎圣母院》中几乎没有百老汇和伦敦西区的印记，观看过该剧的人也往往会有与众不同的感受。
舞蹈角色与歌唱角色分离：
《巴黎圣母院》的一大特色是采用了舞蹈和歌唱相分离的形式，也就是跳舞的演员不唱歌，而歌唱的演员不跳舞。这与当今大多数音乐剧处理歌唱和舞蹈的做法不太相符。在音乐剧中，舞蹈和歌唱演员的角色分配会有侧重，但基本上没有绝对分开的情况，歌唱演员也会和舞蹈演员一起舞蹈，而舞蹈演员也会参与歌唱（更多是合唱），从而体现出歌舞一体的样式。而《巴黎圣母院》则是将两者完全的分离，整个剧目的歌曲全部由7位主要演员演唱，他们歌唱的时候不参与任何舞蹈，个个全情投入，就像聚光灯下的超级明星。舞蹈演员则完全不参与歌曲的演唱，在, , ，等几个大场面的段落中，舞蹈几乎就是演出的全部。
将舞蹈与歌唱完全分离，可以让两者更加投入于自己的演出，将各自的表演发挥到极致。而不需要因为歌唱演员的缘故而降低舞蹈的难度，也不需要因为舞蹈演员的缘故而影响声音的质量。当歌唱演员用声音表达情感时，一旁的舞者就全情投入地用肢体表达复杂的感情纠葛。以爱斯米拉达一出场为例，当她演唱起的时候，在她身旁的舞者就跳起狂热欢快的舞蹈，这样的舞蹈比演唱更能表现她内心奔放的思想。而当菲比斯演唱一曲时，在他身旁的四位男性舞者只露着背影跳舞，让人感受到他黑暗的内心和痛苦的抉择。
在《巴黎圣母院》中，歌唱者用具象的歌词来表达情感，舞者用抽象的动作来表达情感，歌者和舞者在同一舞台上同时表达了内在和外在、具象和抽象。
在舞蹈动作上，编舞还给予舞者很大的自由度，有些段落明显带有自由发挥的成份。同时舞者在舞蹈时还运用了栏杆、棍棒等道具，体现出了写实和写意的双重效果。
流行化的演绎：
在演唱方法上，《巴黎圣母院》完全运用了流行唱法，没有融入一点美声唱法。而在演奏乐器上，《巴黎圣母院》也全部采用电声乐器，没有一件管弦乐器。这两者都表明了《巴黎圣母院》追求纯粹流行风格的姿态。而在其他大多数音乐剧中，多多少少都会融入美声唱法，在伴奏乐器上，也大多以管弦乐器为主，或者在其中加入一些摇滚电声乐器，很少见到纯流行乐器伴奏的情况。
独特的演唱安排：
在《巴黎圣母院》中特别偏重独唱，整场50段音乐中，绝大部分都是独唱，你方唱罢我登场，一首接一首，而较少有重唱。合唱只有结尾等少数几个地方才出现过，而且采用的是事先录制好的背景式合唱。由于没有现场演员的参与，因此即便听到合唱，也缺少了合唱的真实感。在大多数音乐剧中，为了更好地表现起伏的剧情和丰富的声音层次，一般会将独唱，重唱和合唱进行合理的安排，不会过份偏重于独唱，也不可能过份偏重于重唱或合唱。《巴黎圣母院》对独唱的偏好，会让人感到声音层次不够丰富，在形式上略显得单调了。
造成这一状况的主要原因还是在于舞蹈角色和演唱角色的完全分离。 由于舞蹈角色不参与演唱，因此全剧的歌唱段落就全部落在了7位主要角色身上，这7个人在剧中全部聚在一起的时候就已经很少了，要一起重唱和合唱就更难了。好在剧中的每一首歌曲都非常好听，这也多少弥补了歌唱形式上的简单。
与众不同的音乐创作手法：
《巴黎圣母院》中的音乐共有50段。作曲者对于每一首歌曲都是独立成篇的，很少追求歌曲与歌曲之间共同的音乐材料。除了几首是完全反复之外，几乎首首都是全新的创作。因而你在音乐上很难找到歌曲与歌曲之间的联系，在欣赏时会有现场音乐会的感觉。如果在观赏时没有歌词提示，你闭上眼睛很容易感觉这是一张法国流行音乐的精选辑，而不是一部音乐剧。说的专业一点就是，《巴黎圣母院》没有采用大多数音乐剧采用的主题音乐素材变化发展的手法。
《巴黎圣母院》的这一做法与大多数音乐剧的创作手法不同。如今，绝大多数的音乐剧还是采用主题素材变化的手法：作曲者将几个主题音乐素材，在不同的人物和故事情节中进行变化，使其贯穿在整个剧目中，让人感觉到有些音乐片段会时时萦绕在耳边。这一手法在音乐剧《悲惨世界》中就非常明显，在《悲》剧中真正全新的音乐只占到了全剧音乐的三分之一，而全剧音乐就是根据这三分之一的音乐素材，将其进行变化和延伸而形成的。当耳边不时地听到自己熟悉的音乐主题，既感到亲切又加深了人物和故事情节的印象。
在音乐剧的创作中，对立统一的原则是极为重要的，也就是既要有音乐的不断变化，又要有音乐的统一呼应。如果变化太多，会给人捉摸不定的感觉，如果统一太多，不免会让人有厌烦情绪。《巴黎圣母院》这样的创作手法，给人的感觉是变化有余，而相对缺乏统一。 当然也有这种可能：作曲者对自己的旋律写作非常有信心，可以保证每一首歌曲都优美动听，但如果让他运用主题素材变化的手法，反而影响了他对歌曲的自由创作，写得不自 由也不优美了。
不用伴奏用录音：
《巴黎圣母院》中没有使用现场伴奏，这也是很少见的。在百老汇和伦敦西区的音乐剧中，基本上都是乐队现场伴奏。《巴黎圣母院》则是播放预先录制好的配乐。这一做法一开始就引起了很多人的争议，因为人们感到录音会显得死板而没有生气，类似于现在明星假唱的感觉。但事实证明，这并不影响实际的效果，最重要的原因在于《巴黎圣母院》的音乐全部是电声乐器演奏的，对于电声乐器而言，录音与现场演奏的差别并不大。而且在剧中也没有哪个地方需要音乐节奏上的松动，因此完全可以事先录制好，用一样的节奏数以万次的演奏。当然，最重要恐怕还是省钱，本来需要许多人的现场演奏，现在只要一盘录音带就解决了，作为一个长期演出的剧目，这样的方式可以省下一大笔费用。
还有一个特别之处是采用了耳挂式麦克风，演员把麦克风挂在嘴边，暴露在观众面前，这种耳挂式麦克风常常用在劲歌狂舞的歌星身上。在绝大多数的音乐剧中，往往把麦克风藏在头发胡子等看不见的地方，俗称隐藏式麦克风，因为这样可以感觉更象演员，而不是歌星。《巴黎圣母院》的这一做法确实让许多人很吃惊。当演唱者每人一个耳挂式麦克风站在舞台上高声歌唱，配合着舞者的舞蹈和灯光，让人感觉就像是一场歌舞巨星的演唱会，很有视觉上的现场感，但相对而言，就缺少了一些戏剧的感觉。
高空特技尽显魅力：
剧中的高空特技也非常令人惊异。比如卡西莫多对着自己心爱的大钟倾吐内心爱慕之情的时候，三个大钟顿时从天而降，在每一个钟里面都有一个特技演员，他们扮演钟摆奋力地摇摆，撞击着大钟，发出震人心魄的声音。看着特技演员挂在大钟里面，作着各种各样的动作，配合着巨大的钟声，再加上卡西莫多热烈而近乎嘶吼的声音，绝对是一段感人至深的场面。还有爱斯米拉达被吊死的一幕，以及卡西莫多在临终前的四位舞者吊在钢丝上的演出，都给人留下了深刻的印象。可以说这多少归功于高空特技带来的震撼。这些动作的表演者可不是一般人可以胜任的，他们中有许多是从运动员或杂技演员转行过来的，其中就有以舞蹈特技表演而名声大噪的七人团，著名电影导演鲁贝松曾经根据他们7人的高超特技表演拍成了电影《企业战士》，在欧洲青少年中产生了很大反响。
抽象的布景：
《巴黎圣母院》的布景是简单而有冲击力的。剧目一开场，呈现在观众面前是一堵由几十块泡沫拼板拼成的大墙，再加上几根大柱，就组成了巴黎圣母院，在灯光的映衬下，呈现出神秘幽暗的气氛。这样的设计显然只露出了巴黎圣母院一个很小的部分，让人不能马上看明白，却能给人更多的想象。像百老汇和伦敦西区的大多数音乐剧，在道具上则更多强调仿真，让人一看就明白，与他们相比，《巴黎圣母院》在布景的设计上要显得抽象得多。
在长达3小时的演出里，这堵高大威武的大墙始终屹立在舞台上，由于舞台的高度和宽度完全被大墙占满，已经不便于在纵向的平面上布置太多的布景和道具，因而在整个剧目中，大墙的前面始终保留了一大片空地，以便演唱者和舞蹈者有充足的舞台来表演。这样的设计使得舞台上大多数的时候只有演员，而没有其他的布景和道具，给人以现场音乐会的效果。
与众不同的好剧目：
像这样一部与众不同的剧目，自然比较容易受到各方面的关注。同绝大多数著名的音乐剧一样，《巴黎圣母院》在诞生后遭受的指责也不少。比如《伦敦快报》评论说：几根丑陋的水泥柱子和一堵墙来代表美丽的巴黎圣母院，实在有失水准。《电讯日报》评论说音乐声音过于喧闹，而演员只注重嗓音而不注重表演，《泰姆士报》评论说歌曲的安排显得杂乱而没有层次等等。当然，赞扬和褒奖的评论要远远比批评的多得多。
《巴黎圣母院》在各个方面都体现了它追新求异的姿态，似乎也在向世人表明，这不是一部百老汇和伦敦西区的音乐剧，而是一部完全由法国人自己制造的音乐剧。
许多剧评家认为， 《巴黎圣母院》将引领当代音乐剧跨越80年代韦伯式音乐剧的影响，进而迈向表演艺术的新纪元。这个口气似乎太大了，不过，《巴黎圣母院》确实是一部值得观看的好剧目，这话绝对不假，口气也一点不大。
音乐剧《巴黎圣母院》专辑曲目
ACT I 第一幕
1 Ouverture （序曲）
2 Le Temps Des Cathedrales （大教堂时代）
3 Les Sans - Papiers (Clopin) （非法移民）
4 Intervention De Frollo （弗侯洛的介入）
5 Bohemienne (Esmeralda) （波希. 米亚女郎）
6 Esmйralda Tu Sais (Clopin) （爱丝梅拉达你明了）
7 Ces Diamants-lа （钻石般的眼眸）
8 La Fate Des Fous （愚人庆典）
9 Le Pape Des Fous (Quasimodo) （愚人教皇）
10 La Sorciиre (Frolo - Quasimodo) （女巫）
11 L`enfant Trouve (Quasimodo) （孤儿）
12 Les Portes De Paris (Gringoire) （巴黎城门）
13 Tentative D`enlиvement （诱拐）
14 La cour des miracles （奇迹之殿）
15 Le Mot Phoebus （腓比斯的意义）
16 Beau Comme Le Soleil （君似骄阳）
17 Dechire (Phoebus) （心痛欲裂）
18 Anarkia (Frollo - Gringoire) （宿命）
19 A Boire （渴求甘霖）
20 Belle 一 （美丽佳人）
21 Ma Maison C`est Ta Maison （以我居处为家）
22 Ave Maria Paпen (Esmeralda) （异教徒的圣母颂）
23 Je Sens Ma Vie Qui Bascule （生命摆荡）
24 Tu Vas Me Dйtruire (Frollo) （致命狂恋）
25 L`ombre (Phoebus - Frollo) （阴影）
26 Le Val D`amour （爱之谷）
27 La Volupte （享乐）
28 Fatalite （命运）
ACT II 第二幕
29 Florence （佛罗伦斯）
30 Les Cloches （钟）
31 Ou Est-elle （伊人何在）
32 Les Oiseaux Qu`on Met En Cage （囚笼之鸟）
33 Condamnes （判决）
34 Le Proces （讼审）
35 La Torture （刑求）
36 Phaebus （腓比斯）
37 Etre Pretre Et Aimer Une Femme （身为神父恋红颜）
38 La Monture （坐骑）
39 Je Reviens Vers Toi （迷途知返）
40 Visite De Frollo A Esmeralda （探狱）
41 Un Matin Tu Dansais （清晨舞踏）
42 Liberes （解放）
43 Lune （月亮）
44 Je Te Lassie Un Sifflet （赠哨予你）
45 Dieu Que Le Munde Est Injuste （人世何其不公）
46 Vivre （求存）
47 L`attaque De Notre-dame （袭击圣母院）
48 Deportes （遣送出境）
49 Mon Maitre Mon Sauveur （我的救主）
50 Donnez-la Moi （把她交给我）
51 Danse Mon Esmeralda （舞吧! 艾毕梅拉达吾爱）
52 Danse Mon Esmeralda (Saluts)
53 Le Temps Des Cathedrales （终曲）
54 Belle 二 （美丽佳人）
艾丝美拉达——Hélene Ségara饰卡西莫多——Garou饰格林果(甘果瓦)——Bruno Pelletier饰