Wow! Plamondon and Cocciante's sung-through musical adaptation of Victor Hugo's classic novel is stunning: moving, exciting, funny, tragic. The cast is superb, the staging striking, the score melodic and exhilarating. In many respects, it's one of the more faithful adaptations, although the modernisation of some aspects of the setting is not entirely successful. There may be *some spoilers ahead*, as I make comparisons with the book and other adaptations.Pierre Gringoire's role has been expanded to function as our streetwise narrator and guide through the story: Bruno Pelletier, a wise-cracking, adorable delight, is at his most mischievous in 'Val d'Amour', surrounded by Folies Bergère-style harlots! The other main characters fulfil the roles one expects. Luck Mervil is a dynamic, if youthful Clopin (it's a bit of a jolt when he says he's brought up Esméralda as a father – they look the same age!), and comes into his own in the marvellous 'Cour des Miracles' scene, in which Pierre narrowly escapes hanging. Garou is an impressive and moving Quasimodo. Hélène Ségara is a graceful Esméralda, though perhaps *too* dignified – I was more convinced by Lola Ponce in the Verona recording. Also, script-wise, there are problems with adaptations (like this) which give her a stronger, more mature personality, because, while it's more convincing in terms of her background, the plot hinges on her gullibility and immaturity re: the vain and duplicitous Phoebus (Patrick Fiori). A more plausibly streetwise Esméralda would be more likely to see through him and either avoid or manipulate him. Daniel Lavoie is heartbreaking, and a fine vocal presence, as Claude (although, as in most dramatisations, a couple of decades older than the character). He has some of the best songs, too: 'Tu vas me détruire', 'Etre prêtre' and 'Un matin, tu dansais' – and it helps that the lyrics make powerful use of some of Claude's speeches from the novel. But then, his plight – torn between his desires and his vows, between his traditional ecclesiastical education and the new learning of the Renaissance (here expressed in a duet with Pierre, 'Florence') – is what drives the novel and gives it its tragic heart. He also depicts the Archdeacon's increasing mental breakdown, up to the final hysterical outburst that precipitates his death (dramatically staged). I'm unconvinced by the semi-modernisation making him a racist: the only gypsy with whom he really has a problem in the book is Esméralda, and that's because of his attraction to her. Julie Zenatti is effective as Fleur-de-Lys, here portrayed as an adolescent, but shrewd and scheming: she knows what Phoebus is, and seeks to secure her hold over him by telling him to "hang the gypsy".The minimalist sets work well in terms of allowing the dance sequences to stand out, and to focus attention on the main characters. However, as mentioned already, I'm not entirely convinced by the partial modernisation. The grafting on of modern political themes – undocumented refugees, police racism and brutality – jars when we also have songs such as 'Florence', which places the action in the Renaissance and anticipates the coming Reformation. A full modernisation of setting might work (Dresden Semperoper did a 'Chicago'-style production of Schmidt's 'Notre Dame', with Esméralda-as-Roxie Hart), or a full mediaeval staging (as done in the Russian youth theatre Sed'moe Utro's production in Novokuznetsk), but this is neither one nor t'other.Overall, though, this is a magnificent show, and (bar its omission of subplots around Esméralda's real parentage and Claude's relationship with his brother) is closer to the novel than most film versions. Also, it passes the ultimate test for any musical: you will start humming and singing some of the songs afterwards!

I knew music was beautiful and it makes me feel better but I do not really enjoy listening the music and especially classical music such as opera, Beethoven, Chopin, Mozart's music and philharmonic orchestra. I knew it was all wonderful music but whenever I listening to them, I will definitely go sleep. So I wouldn't enjoy it. I can only enjoy part of the music. For example, the movie 'The Shawshank Redemption' when Andy go to the prison's announcement room and then playing the opera(I believe this is one of the best scene in all time.), it was beautiful music.But, I do like watching musical bit childish way because I would like to watching classic Disney cartoon movie such as Beauty and the beast, The lion king, Aladdin and so on.I watched 'Notre-Dame de Paris' about 1 or 2 years ago and that time my English wasn't that good enough to understand the subtitles and interestingly I don't even remember what story is about so I don't have any idea what to say about it.And then a few days ago I have been listening the some musical album such as Les Misérables and Cats. Surprisingly, I realised that how much I enjoyed their singing and playing. This is the what happen when you watched best movie or performance. It's out of nowhere it came to my mind. I don't even know what they talking about or what this story is about but I was so badly wanted to watch it again and listen to music again.I must give rate for 10/10 because I don't even understand what they were saying or talking about but I still want to watch it again.This is extremely powerful and beautiful performance and energetic and splendour musical. It doesn't matter whether anyone likes musical or not so I highly recommended to anyone.

There are no words to describe when watching this movie, it's like a breath of fresh air. Whether you are fluent in french or not you will come to appreciate this movie instantly. It is a classic story of boy loves girl who loves someone else. If anyone has captured a classic it is Victor Hugo.A great deal of people contributed to the beautiful theatrics in this production and although everyone sang beautifully three people stood out in my mind. Bruno Pelletier who played Gringoire, Garou who played Quasimodo, and last but not least Hélène Ségara who played Esmeralda. Bruno Pelletier's voice was so pure, so pure in fact that I never would have guessed he was singing live. I liked Garou's voice in particular because it was like a modernized rock voice meshed with classical ballads. Hélène's voice was just amazing, her range was endless. The sound of their voices were so good that it literally brought tears to my eyes.I strongly recommend this movie to everyone and I give it a ten out of ten simply for the fact that though in french it portrays the universal language of love, which is translated very clearly.

"Notre-Dame De Paris" is the best musical I have ever seen! With his stunning voice, Bruno Pelletier (the most wonderful singer I have ever heard of) shines as the poet Gringoire, receiving gold and quadruple platinum for his act. Daniel Lavoie plays Jean-Claude Frollo with his powerful voice. Hélène Ségara takes on the role of Esmeralda spectacularly, and Luck Mervil plays the part of her guardian Clopin with passion. When Garou sings you cannot do anything but listen, since he sounds amazing, interpreting the role of the love-sick Quasimodo. Using his voice, which contains the softest sound I have ever heard, for the role of Phoebus, Patrick Fiori does a truly excellent job. And last but definitely not least, Julie Zenatti uses her unique and special voice for the role of Fleur-De-Lys, at the age of only 17. Richard Cocciante (music) and Luc Plamondon (lyrics) have done the very difficult job of sticking to the story by Victor Hugo, and still managing to create a fantastic and beautiful musical. Because of its success, it has been translated into different languages such as (for instance) English and Italian. This masterpiece is most honestly worth your time!