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Beneath the Paris Opera lie five cellars, an underground lake, and a tenant whom the management pays not to think about. Leroux was a crime reporter first, and he built the novel as an investigation: witness statements, an inquest tone, and real machinery of the Palais Garnier, which does have a lake. The result is less a horror story than the strangest love triangle in French fiction. Sixty plates by Jean Béraud and Pierre-Auguste Renoir, from 1816 to 1921, catch the opera house, its crowds, and its dancers in the same reportorial light Leroux turned on its cellars.

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