The article examines the cinematic legacy of casting as incarnated in the singer and the singing voice in Gaston Leroux's novel "Le Fantôme de l'Opéra." It explores the transformation of the characterizations of Leroux's operatic triad, including prima donna, young singer, and teacher in search of an operatic ideal, in the course of a century of adaptations. It also discusses the various identities of the Phantom figure.