🎭 In Gaston Leroux’s 1910 novel, Carlotta is identified as a Spanish soprano. Her surname is never given, and although technically skilled, Leroux criticizes her for lacking emotional depth — something that enrages Erik. Her powerful but soulless voice becomes the opposite of Christine’s heartfelt singing.

🎶 In Andrew Lloyd Webber’s 1986 musical, Carlotta is reimagined as Italian, with the full name Carlotta Giudicelli. On stage, the name is often pronounced “Joo-di-chelli,” though Italian pronunciation would be closer to “Joo-dee-chell-ee.” She is flamboyant, proud, quick to anger, and written as a comic coloratura soprano role that requires vocal agility. Her excess and dramatics serve as a foil to Christine’s innocence and sincerity.

🌍 The change in nationality underscores theatrical contrast. Making Carlotta Italian draws on stereotypes of the fiery operatic diva, highlights her showy flamboyance against Christine’s vulnerability, and adds to the Paris Opera House’s cosmopolitan character.