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Sherlock Holmes Pastiche by Nicholas Meyer #3
The Canary Trainer: From the Memoirs of John H. Watson, M.D.
Located by a computer in the bowels of a major university, this missing manuscript by Dr. John Watson, the biographer of Sherlock Holmes, reveals for the first time a hitherto unknown episode in the life of the Great Detective.
The year is 1891, Paris is the capital of the western world, and its opera house is full of surprises. First and by no means the least is the sudden reappearance of the great love of Holmes's life, an accomplished singer from Hoboken, New Jersey. Second is the series of seemingly bizarre accidents -- each more sinister than the last -- allegedly arranged by the "Opera Ghost", an opponent who goes by many names and is more than equal to Holmes. Alone in a strange and spectacular city, with none of his resources, Holmes is commissioned to protect a vulnerable young soprano, whose beautiful voice obsesses a creature no one believes is real, but whose jealousy is lethal.
In this dazzling, long-awaited sequel to The Seven-Per-Cent Solution, the detective pits wits against a musical maniac, and we are treated to an adventure unlike any other in the archives of Sherlock Holmes.
The year is 1891, Paris is the capital of the western world, and its opera house is full of surprises. First and by no means the least is the sudden reappearance of the great love of Holmes's life, an accomplished singer from Hoboken, New Jersey. Second is the series of seemingly bizarre accidents -- each more sinister than the last -- allegedly arranged by the "Opera Ghost", an opponent who goes by many names and is more than equal to Holmes. Alone in a strange and spectacular city, with none of his resources, Holmes is commissioned to protect a vulnerable young soprano, whose beautiful voice obsesses a creature no one believes is real, but whose jealousy is lethal.
In this dazzling, long-awaited sequel to The Seven-Per-Cent Solution, the detective pits wits against a musical maniac, and we are treated to an adventure unlike any other in the archives of Sherlock Holmes.
228 pages, Paperback
First published January 1, 1993
58 people are currently reading
1002 people want to read
About the author
Nicholas Meyer
36 books271 followersNicholas Meyer graduated from the University of Iowa with a degree in theater and film-making, & is a film writer, producer, director and novelist best known for his involvement in the Star Trek films. He is also well known as the director for the landmark 1983 TV-Movie "The Day After", for which he was nominated for a Best Director Emmy Award. In 1977, Meyer was nominated for an Adapted Screenplay Academy Award for adapting his own 1974 novel, The Seven-Per-Cent Solution, to the screen.
In addition to his work on Star Trek, Meyer has written several novels, and has written and/or directed several other films.Most notable being the 1983 made-for-television anti-nuclear movie The Day After.
Meyer wrote three Sherlock Holmes novels: The West End Horror, The Canary Trainer, and The Seven-Per-Cent Solution. The latter was Meyer's most famous Holmes novel and the project for which he was best known prior to his Star Trek involvement. It was also adapted into a 1976 film, directed by Herbert Ross, for which Meyer wrote the screenplay.
In addition to his work on Star Trek, Meyer has written several novels, and has written and/or directed several other films.Most notable being the 1983 made-for-television anti-nuclear movie The Day After.
Meyer wrote three Sherlock Holmes novels: The West End Horror, The Canary Trainer, and The Seven-Per-Cent Solution. The latter was Meyer's most famous Holmes novel and the project for which he was best known prior to his Star Trek involvement. It was also adapted into a 1976 film, directed by Herbert Ross, for which Meyer wrote the screenplay.
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Displaying 1 - 30 of 121 reviews
April 29, 2011
There is much to commend this Sherlock Holmes-meets-the-Phantom-of-the-Opera tale: the descriptions of Paris and especially the Opera Populaire and its many subterranean levels are fascinating and atmospheric; the unexpected appearance of Irene Adler (not particularly a favorite of mine) and her relationship with Sherlock Holmes make sense and provide interesting insights; and the Gothic flavor of the work is wonderful. Nicholas Meyer knows The Phantom of the Opera as well as he knows the canon of Sherlock Holmes (which is impressive), and his love for the story shines through the text -- as do his loyalties (Raoul, Viscount of Chagny, is even more of a wimp than his detractors would make him).
Unfortunately, the novel's strength, its use of The Phantom of the Opera, is also its weakness. If you know Gaston Leroux's work, you know most of what happens in this novel; Sherlock Holmes's point of view does not provide sufficient contrast to create a different "spin" on the original. Also, the lack of John Watson is keenly felt. As with Arthur Conan Doyle's work, a tale told by Holmes does not compare with a tale told by Watson. (At places, Holmes seems almost to bend out of character to fill the void of emotion and empathy usually supplied by Watson's narration.) It provides an intriguing fill for the "hiatus" years in Doyle's canon, and it's worth reading, but it's my least favorite of Meyer's three Holmes pastiches.
Unfortunately, the novel's strength, its use of The Phantom of the Opera, is also its weakness. If you know Gaston Leroux's work, you know most of what happens in this novel; Sherlock Holmes's point of view does not provide sufficient contrast to create a different "spin" on the original. Also, the lack of John Watson is keenly felt. As with Arthur Conan Doyle's work, a tale told by Holmes does not compare with a tale told by Watson. (At places, Holmes seems almost to bend out of character to fill the void of emotion and empathy usually supplied by Watson's narration.) It provides an intriguing fill for the "hiatus" years in Doyle's canon, and it's worth reading, but it's my least favorite of Meyer's three Holmes pastiches.
November 8, 2024
1891-ieji, Paryžius. Holmsas po Reichenbacho (kuris, jei tikėsime ankstesne Meyerio knyga, buvo visai ne tai, ką mums pribūrė Watsonas), apsimetęs smuikininku norvegu Sigersonu, įsitaiso griežti Paryžiaus Operos orkestre. Ir, reikia pasakyti, šiek tiek nustemba, sutikęs amerikiečių dainininkę... Irene Adler. O tuo metu Operoje dedasi keistoki dalykai. Visi puse lūpų šnekasi apie paslaptingą Operos vaiduoklį. Kai žūsta scenos darbininkas, Holmsas neabejoja – tai vaiduoklio darbas...
Turiu pasakyti, kad šitas Meyerio pastišas šiek tiek nuvylė. Vis tik, skaitydamas apie Holmsą, žmogus tikiesi šiokio tokio detektyvo. Bet kai autorius įmeta Šerloką į Gastono Leroux kūrinį... Detalės detalėm, bet paslapties nebelieka – žinai, kad apatiniame Operos rūsių aukšte, kur netgi tyvuliuoja ežeras, gyvena... Ai, gal jūs nežinot, tai nespoilinsiu.
Bet parašyta smagiai, Holmsas, aišku išgelbės jaunąją Operos dainininkę, Christine, nuo beprotiškai ją įsimylėjusio vaiduoklio. O paskui, matyt, susikraus daiktus ir varys į Juodkalniją susitikti su Adler. (Kur, pasak vienos teorijos, padarys su Iryte tai, po ko toji pagimdys ne ką kitą, o Nero Wolfe... Bet mane nuo tos teorijos purto, tai nesigilinkim.)
Keturi iš penkių, bet skystoki.
Turiu pasakyti, kad šitas Meyerio pastišas šiek tiek nuvylė. Vis tik, skaitydamas apie Holmsą, žmogus tikiesi šiokio tokio detektyvo. Bet kai autorius įmeta Šerloką į Gastono Leroux kūrinį... Detalės detalėm, bet paslapties nebelieka – žinai, kad apatiniame Operos rūsių aukšte, kur netgi tyvuliuoja ežeras, gyvena... Ai, gal jūs nežinot, tai nespoilinsiu.
Bet parašyta smagiai, Holmsas, aišku išgelbės jaunąją Operos dainininkę, Christine, nuo beprotiškai ją įsimylėjusio vaiduoklio. O paskui, matyt, susikraus daiktus ir varys į Juodkalniją susitikti su Adler. (Kur, pasak vienos teorijos, padarys su Iryte tai, po ko toji pagimdys ne ką kitą, o Nero Wolfe... Bet mane nuo tos teorijos purto, tai nesigilinkim.)
Keturi iš penkių, bet skystoki.
February 3, 2019
Sherlock Holmes meets the Phantom of the Opera! Nicholas Meyer does another convincing job of interweaving Holmes' world with either real-life, or in this case, other well known fictional characters, into one seamless story. I have never particularly been interested in fanfic, but this series is successful because it doesn't attempt to re-write what people love about his character.
October 18, 2021
The Canary Trainer
By Nicholas Meyer
Reviewed March 2007
Note: This review was originally posted on a now defunct Phantom of the Board board.
This is not so much a PotO story as it is a Holmesian story. If you are not a regular Sherlockian, some of the references in the story, even with the explanatory footnotes, might not mean much to the reader. So, if you have come to this book because of its Phantom of the Opera connections, you've been warned.
I have to confess that I have a great fondness for Mr. Meyer’s Holmes novels. He wrote three of them – The Seven Per-Cent Solution, The West End Horror, and The Canary Trainer – and all three are in my Baker Street library. Yes, I’m as avid a Sherlockian who was introduced to Holmes back in 1974 when Meyer wrote his first novel, The Seven Per-Cent Solution, and to this day believe that Holmes never really fought Prof. Moriarty by the Reichenbach Falls, but was in Vienna with Sigmund Freud getting cured of his cocaine addiction. But that’s another story altogether. Anyway, suffice it to say that I like Meyer’s novels. Now, back to The Canary Trainer.
This story takes place during “The Great Hiatus” – those “missing” years when the world presumed Holmes was dead. But, of course, he wasn’t. Using the alias of Henrik Sigerson, Holmes was traveling the world and, being a world-class violinist, decided to try out for the orchestra of the Paris Opera while visiting that city. This is how he becomes involved in this case.
Holmes is approached by “the woman” – Irene Adler – who is an operatic singer from his past. Irene is concerned about young Christine Daaé. Joseph Buquet has been found dead after having been kicked out of Mlle. Daaé’s dressing room by an irate Vicomte de Chagny. Buquet, it seems, was in infatuated with Christine.
Ms. Adler, whose dressing room is next to Christine’s, asks her one-time adversary to look after the young ingénue. Adler has befriended Christine.
“She is quite an innocent,” says Irene Adler. “Beautiful and simple – one might almost be tempted to say simple-minded!”
Irene fears that Christine could be used by unscrupulous sorts, and she has little faith in Raoul’s ability to help, calling him “a mere puppy.” Irene has heard voices coming from Christine’s dressing room of late, and suggests to the detective that this has something to do with a person known as the phantom of the opera.
Meyer has made some changes to the overall plot, something I don’t hold against him. After all, which of us hasn’t done the same thing when writing our own PotO stories? He even addresses some of these changes in his notes at the end of the story. The main thing that most PotO readers probably won’t like is that the phantom is relegated to a relatively minor role. We don’t even meet him until the last quarter of the book. This story focuses more on Holmes – how he goes about solving this particular mystery. The phantom isn’t even called Erik.
As a blend of Phantom and Holmes, it’s a pleasant enough diversion. Just keep telling yourself – this is a story about Sherlock Holmes and one of his many cases, not about the Phantom of the Opera. Oh, and the title? The Phantom is sometimes referred to as the canary trainer because of his ability to teach his little songbird (Christine) to sing.
By Nicholas Meyer
Reviewed March 2007
Note: This review was originally posted on a now defunct Phantom of the Board board.
This is not so much a PotO story as it is a Holmesian story. If you are not a regular Sherlockian, some of the references in the story, even with the explanatory footnotes, might not mean much to the reader. So, if you have come to this book because of its Phantom of the Opera connections, you've been warned.
I have to confess that I have a great fondness for Mr. Meyer’s Holmes novels. He wrote three of them – The Seven Per-Cent Solution, The West End Horror, and The Canary Trainer – and all three are in my Baker Street library. Yes, I’m as avid a Sherlockian who was introduced to Holmes back in 1974 when Meyer wrote his first novel, The Seven Per-Cent Solution, and to this day believe that Holmes never really fought Prof. Moriarty by the Reichenbach Falls, but was in Vienna with Sigmund Freud getting cured of his cocaine addiction. But that’s another story altogether. Anyway, suffice it to say that I like Meyer’s novels. Now, back to The Canary Trainer.
This story takes place during “The Great Hiatus” – those “missing” years when the world presumed Holmes was dead. But, of course, he wasn’t. Using the alias of Henrik Sigerson, Holmes was traveling the world and, being a world-class violinist, decided to try out for the orchestra of the Paris Opera while visiting that city. This is how he becomes involved in this case.
Holmes is approached by “the woman” – Irene Adler – who is an operatic singer from his past. Irene is concerned about young Christine Daaé. Joseph Buquet has been found dead after having been kicked out of Mlle. Daaé’s dressing room by an irate Vicomte de Chagny. Buquet, it seems, was in infatuated with Christine.
Ms. Adler, whose dressing room is next to Christine’s, asks her one-time adversary to look after the young ingénue. Adler has befriended Christine.
“She is quite an innocent,” says Irene Adler. “Beautiful and simple – one might almost be tempted to say simple-minded!”
Irene fears that Christine could be used by unscrupulous sorts, and she has little faith in Raoul’s ability to help, calling him “a mere puppy.” Irene has heard voices coming from Christine’s dressing room of late, and suggests to the detective that this has something to do with a person known as the phantom of the opera.
Meyer has made some changes to the overall plot, something I don’t hold against him. After all, which of us hasn’t done the same thing when writing our own PotO stories? He even addresses some of these changes in his notes at the end of the story. The main thing that most PotO readers probably won’t like is that the phantom is relegated to a relatively minor role. We don’t even meet him until the last quarter of the book. This story focuses more on Holmes – how he goes about solving this particular mystery. The phantom isn’t even called Erik.
As a blend of Phantom and Holmes, it’s a pleasant enough diversion. Just keep telling yourself – this is a story about Sherlock Holmes and one of his many cases, not about the Phantom of the Opera. Oh, and the title? The Phantom is sometimes referred to as the canary trainer because of his ability to teach his little songbird (Christine) to sing.
August 1, 2025
I'll always be grateful to Sherlock Holmes for helping me to keep my sanity. I used to read the Holmes cases by Conan Doyle on break while I was working in a ( now long-gone ) factory, as well as after work, as a great way to relax my mind. I was very much caught up in the crime mysteries and how Holmes always solved the crime, with the assistance of the faithful Dr. Watson. The setting of fog-shrouded late Victorian London certainly became a magical place to escape to in the company of Holmes & Watson. Since then and after reading the Holmes canon, I've read a number of pastiches of the Holmes stories. Nicholas Meyer was perhaps the best at carrying on the history of the Great Detective, especially in "The Seven-Per-Solution" (1974) which also became an excellent film in 1976. There was also his "The West End Horror," published in 1976. Now, I have finally gotten around to reading this one by Meyer, published in 1993. This story is supposed to be from the memoirs of John Watson, MD, recently discovered, and about a secret episode in the life of Holmes. In 1891, the sleuth is in Paris. He gains a job as a violinist in the orchestra at the Paris Opera, which is a dream job for him, as he can concentrate on his violin playing. But I could see what's coming--the great Holmes having a run-in with the Phantom of the Opera. Holmes is at a disadvantage in this case as he is off his home turf of London and in unfamiliar surroundings. Fortunately, Holmes speaks fluent French...A good story, not up to the level of Meyer's earlier "The Seven-Per-Cent Solution" but I enjoyed it. More like ***1/2.
June 21, 2021
Holmes without Watson deduces very little. This is how I would sum up The Canary Trainer.
Another 'lost' Dr Watson manuscript, this one apparently dictated to the doctor by his friend Holmes. A ghost in an opera house who is also a music teacher and demands a monthly stipend. A number of characters who existed for no reason whatsoever and only served to confuse me. The most unlikely resolution imaginable, and most questions left unanswered.
A quick but frustrating read.
Another 'lost' Dr Watson manuscript, this one apparently dictated to the doctor by his friend Holmes. A ghost in an opera house who is also a music teacher and demands a monthly stipend. A number of characters who existed for no reason whatsoever and only served to confuse me. The most unlikely resolution imaginable, and most questions left unanswered.
A quick but frustrating read.
October 1, 2012
Nicholas Meyer did it again. After the very good “Seven per cent solution”, Meyer gives us another worthy pastiche (I know, it was published almost 20 years ago, but this is a real findfor me). This time, it is Holmes who narrates a much curious case: that of the Phantom of the Opera.
How Holmes became involved on this is handled very ingeniously and the best part is that you do not need to read “Seven per cent solution” to catch up. After he is presumed dead, Holmes finds a job doing the second best thing he does: playing the violin -at the Garnier Opera, no less-. Everything runs smoothly until Irene Adler, “the woman” suddenly gets to replace an ailing diva. Being the smart woman she is, Irene spots Holmes right away. In a move that can be described more or less as blackmailing, the woman gets a reluctant Holmes to follow the Phantom’s track in order to protect Irene’s colleague and friend, Christine Daee.
I’m not much of a “Phantom of the Opera” buff though I’m familiar with the basic outline therefore I’m judging this book only as Holmes fan. As an opera conscious fan, I also have to note that Meyers is well informed and throws his opera references very cleverly (I only caught a small mistake).
It is remarkable how Meyers gets a veritable version of Holmes “voice”. We can suspend disbelief and take it as penned by ACD.
Yes, Holmes narration is problematic; it is not as interesting as Watson. It is not Meyer’s blunder; it is intentional and capital for the story because there is no way Watson could have witnessed these events and another narrator does not necessarily work (I am talking to you, Sam Siciliano). Holmes narration works because it is very much what we can expect from Holmes: cold, undetached and lacking the surprise factor(we already know the outcome anyway) his work produces in less brighter people –Watson and thus ourselves-.
Some reviewers have mentioned their disappointment on Holmes’s behavior. He seems erratic, less confident and at times, plainly foolish. But it does make complete sense. Whether you choose to follow the “Seven percent solution” trail of a recovering drug addicted or simply take Holmes’s word that he felt like he was “on vacation”, our detective is below his usual level. Then remember this is Holmes telling us the events; maybe an observer like Watson would think some actions are a clear product of his intelligence but not Holmes; he is way too critical of himself.
My only complain? I was dying to get more of the Holmes/Irene Adler thread! Meyers is subtle but very effective on his characterization of “the woman” and his influence on Holmes. Get to the final page and tell me if you wouldn’t like more Holmesiana from Meyers!
How Holmes became involved on this is handled very ingeniously and the best part is that you do not need to read “Seven per cent solution” to catch up. After he is presumed dead, Holmes finds a job doing the second best thing he does: playing the violin -at the Garnier Opera, no less-. Everything runs smoothly until Irene Adler, “the woman” suddenly gets to replace an ailing diva. Being the smart woman she is, Irene spots Holmes right away. In a move that can be described more or less as blackmailing, the woman gets a reluctant Holmes to follow the Phantom’s track in order to protect Irene’s colleague and friend, Christine Daee.
I’m not much of a “Phantom of the Opera” buff though I’m familiar with the basic outline therefore I’m judging this book only as Holmes fan. As an opera conscious fan, I also have to note that Meyers is well informed and throws his opera references very cleverly (I only caught a small mistake).
It is remarkable how Meyers gets a veritable version of Holmes “voice”. We can suspend disbelief and take it as penned by ACD.
Yes, Holmes narration is problematic; it is not as interesting as Watson. It is not Meyer’s blunder; it is intentional and capital for the story because there is no way Watson could have witnessed these events and another narrator does not necessarily work (I am talking to you, Sam Siciliano). Holmes narration works because it is very much what we can expect from Holmes: cold, undetached and lacking the surprise factor(we already know the outcome anyway) his work produces in less brighter people –Watson and thus ourselves-.
Some reviewers have mentioned their disappointment on Holmes’s behavior. He seems erratic, less confident and at times, plainly foolish. But it does make complete sense. Whether you choose to follow the “Seven percent solution” trail of a recovering drug addicted or simply take Holmes’s word that he felt like he was “on vacation”, our detective is below his usual level. Then remember this is Holmes telling us the events; maybe an observer like Watson would think some actions are a clear product of his intelligence but not Holmes; he is way too critical of himself.
My only complain? I was dying to get more of the Holmes/Irene Adler thread! Meyers is subtle but very effective on his characterization of “the woman” and his influence on Holmes. Get to the final page and tell me if you wouldn’t like more Holmesiana from Meyers!
May 4, 2017
Didn't like the way Erik was portrayed. I understand this was more a Sherlock story, but with that portrayal and the changing of a few other characters from POTO, I just can't get into it. Also with a small jab at the end of Leroux's work.............its on my "Trade Only" list as opposed to the "Buy" list.
It was an OK read, much more Sherlock and Watson, their portrayal was spot on. Plenty of great atmosphere and gothic/Victorian/Paris feel.
Great for Sherlock fans not so much for Phantom fans. For both like me, not so good.
Much prefer Angel Of The Opera.
It was an OK read, much more Sherlock and Watson, their portrayal was spot on. Plenty of great atmosphere and gothic/Victorian/Paris feel.
Great for Sherlock fans not so much for Phantom fans. For both like me, not so good.
Much prefer Angel Of The Opera.
August 19, 2023
4.5!
It seems as if this book was made for me! I thought it was a fun and engaging mystery, and it worked so well — it felt almost as if Sherlock had always been a part of the Phantom of the Opera! It loses .5 for the pacing of the conclusion (could have done with a little more time in the lair) and the implication of the unspoken romantic feelings hanging between Sherlock and Irene Adler which I thought was unnecessary and added little of value. I really loved the scene that takes place in Père Lachaise!
It seems as if this book was made for me! I thought it was a fun and engaging mystery, and it worked so well — it felt almost as if Sherlock had always been a part of the Phantom of the Opera! It loses .5 for the pacing of the conclusion (could have done with a little more time in the lair) and the implication of the unspoken romantic feelings hanging between Sherlock and Irene Adler which I thought was unnecessary and added little of value. I really loved the scene that takes place in Père Lachaise!
March 26, 2025
I love these Nicholas Meyer pastiches and was so excited to discover he had published more of them after a long hiatus. I liked the SEVEN PERCENT SOLUTION a great deal. but I adored THE WEST END HORROR! I plan to read both again after working through his four newer volumes. The conceit that this is a real manuscript by Watson edited by Meyer is one of my favorite tropes in all literature. Where does the story come from? This is a question too often overlooked by writers.
Superb story, character, and most of all the authentic late-Victorian style with footnotes from the "editor." Brilliant!!
Superb story, character, and most of all the authentic late-Victorian style with footnotes from the "editor." Brilliant!!
December 26, 2024
Sherlock Holmes meets the Phantom of the Opera in this brilliant foray that includes nods to Edgar Allan Poe's Inspector Dupin, Charles Darnay from Charles Dicken's A Tale of Two Cities, and the brave defenders of the commune from Victor Hugo's Les Miserables. The inclusion of Holmes love interest Irene Adler is a bonus.
October 6, 2021
This is kind of a 3 1/2 star book. It's a Sherlock Holmes meet the Phantom of the Opera riff. It's not bad...just not what I'd call a good "Holmes" book. There are some that are more fun. Oh well. I'm off to see what Kareem has done with "Mycroft Holmes."
December 29, 2022
As a fan of the original Phantom of the Opera by Gaston Leroux as well as a Sherlockian, I was very excited to read this book. It was fun, but I think I set my expectations a bit too high. If you really want to enjoy this book, come at it with no preconceived notions of the Phantom or Holmes. This story is best enjoyed on its own merits as an original work.
January 16, 2013
I was hoping that this would be just as good as Meyer's The Seven Per-Cent Solution, but sadly it's not of the same quality. I like the idea of a Phantom/Holmes story, and I enjoyed the little editorial notes, similar to those in The Princess Bride, as well as the crossover with other literary and historical figures, similar to that in Kim Newman's Anno Dracula.
One of the difficulties comes from the novel being narrated by Holmes himself, whose voice is more difficult to replicate that Watson's. Holmes' deductions and genius are shown off to better effect when they are seen by an outsider, and Holmes works better from a distance than up close. Consequently, this version of Holmes was not very convincing. There was maybe one instance of Holmes' lightning observation-deduction, and for the rest of the time, he bumbled along in a very amateurish fashion, allowing his emotions to take control, letting himself be manipulated, seemingly not caring about staying incognito, providing very thin cover stories, and only realising afterwards that he went about a particular part of the investigation all wrong.
The plot itself didn't amount to much, just the basic Phantom story, and the ending felt rather rushed, and the finale very contrived. I also didn't see any particular reason for Irene Adler's brief appearance, or for Holmes' inclusion in the story at all--he didn't bring anything particularly new to the Phantom story, and the happy ending would probably have happened without him. I fail to see why Meyer chose such a deliberately misleading title; surely referencing the Phantom in the title would give people a better idea of what the book is actually about, not give hopeful readers ideas about Wilson, the canary trainer mentioned in Black Peter.
I suppose it wasn't a terrible book, because it was quite enjoyable, but I was expecting something as good as The Seven Per-Cent Solution, and it really wasn't.
One of the difficulties comes from the novel being narrated by Holmes himself, whose voice is more difficult to replicate that Watson's. Holmes' deductions and genius are shown off to better effect when they are seen by an outsider, and Holmes works better from a distance than up close. Consequently, this version of Holmes was not very convincing. There was maybe one instance of Holmes' lightning observation-deduction, and for the rest of the time, he bumbled along in a very amateurish fashion, allowing his emotions to take control, letting himself be manipulated, seemingly not caring about staying incognito, providing very thin cover stories, and only realising afterwards that he went about a particular part of the investigation all wrong.
The plot itself didn't amount to much, just the basic Phantom story, and the ending felt rather rushed, and the finale very contrived. I also didn't see any particular reason for Irene Adler's brief appearance, or for Holmes' inclusion in the story at all--he didn't bring anything particularly new to the Phantom story, and the happy ending would probably have happened without him. I fail to see why Meyer chose such a deliberately misleading title; surely referencing the Phantom in the title would give people a better idea of what the book is actually about, not give hopeful readers ideas about Wilson, the canary trainer mentioned in Black Peter.
I suppose it wasn't a terrible book, because it was quite enjoyable, but I was expecting something as good as The Seven Per-Cent Solution, and it really wasn't.
This entire review has been hidden because of spoilers.
December 2, 2025
I have really enjoyed the other Sherlock Holmes pastiches that Meyer has written, but this one was, strangely, a miss.
Let's start with the good. Meyer's writing style is smooth, I'll give him that. He's got this knack for painting vivid pictures with words that make you feel like you're right there in the thick of things. The premise had potential - a mysterious figure haunting the Paris Opera, a missing opera singer, and of course, our favorite detective, Mr. Holmes, on the case.
But, and it’s a big but, the execution fell flat for me. The pacing was about as slow as molasses on a cold day. I found myself checking my watch more often than I care to admit, wondering when something, anything, was going to ever happen. And when things did happen, they felt more like a whimper than a bang. The supposed twists and turns were more like gentle curves in the road - predictable and not all that exciting.
Sherlock Holmes felt like a cardboard cutout of himself, devoid of the wit and charm that make him such an iconic character.
This book just had no plot. Meyer seemed to have thrown a bunch of random ideas into a pot and hoped for the best. The whole thing felt disjointed and messy, like a jigsaw puzzle missing half its pieces. I kept waiting for everything to come together in a satisfying conclusion, but it never quite materialized. Instead, I was left scratching my head and wondering what the point of it all was.
So, unless you're a die-hard Sherlock Holmes fan with a lot of time on your hands, I'd say give this one a pass. There are plenty of other mysteries out there worth solving.
Let's start with the good. Meyer's writing style is smooth, I'll give him that. He's got this knack for painting vivid pictures with words that make you feel like you're right there in the thick of things. The premise had potential - a mysterious figure haunting the Paris Opera, a missing opera singer, and of course, our favorite detective, Mr. Holmes, on the case.
But, and it’s a big but, the execution fell flat for me. The pacing was about as slow as molasses on a cold day. I found myself checking my watch more often than I care to admit, wondering when something, anything, was going to ever happen. And when things did happen, they felt more like a whimper than a bang. The supposed twists and turns were more like gentle curves in the road - predictable and not all that exciting.
Sherlock Holmes felt like a cardboard cutout of himself, devoid of the wit and charm that make him such an iconic character.
This book just had no plot. Meyer seemed to have thrown a bunch of random ideas into a pot and hoped for the best. The whole thing felt disjointed and messy, like a jigsaw puzzle missing half its pieces. I kept waiting for everything to come together in a satisfying conclusion, but it never quite materialized. Instead, I was left scratching my head and wondering what the point of it all was.
So, unless you're a die-hard Sherlock Holmes fan with a lot of time on your hands, I'd say give this one a pass. There are plenty of other mysteries out there worth solving.
January 23, 2024
I loved Nicholas Meyer’s ‘The West End Horror’, so after finishing that book, I was pretty excited to read this one. I’m also a fan of The Phantom of the Opera, so I went into this with much enthusiasm, which to my disappointment, was a mistake. The story is narrated by Holmes, which I wasn’t a fan of, it really makes the story feel a bit strange and not very Doyle-esque. Moving on, the story is pretty slow in the beginning, it starts to really pick up near the middle (which was the best part of the book), but unfortunately the story comes to a very quick and melodramatic end. There was no true motive for the Angel, it really didn’t explain much about him and any questions you’ll end up having are left completely unanswered. Other characters Sherlock meets throughout the adventure are forgettable. On to more positive aspects, the author did much research into French society of the 19th century and there are some rather intriguing and dark parts in the story. He captures an unsettling atmosphere pretty solidly (as he also did in the previous book). In addition, the story does a splendid job going into much detail into the surroundings and depicts the passageways of the theatre quite well.
Overall, I can really only recommend this to those who are big fans of Holmes. Just keep in mind the ending is quite a letdown and the story lacks a fully fleshed out villain. If you can get past this, you’re in for a fairly interesting story that does have its moments of enjoyment.
Overall, I can really only recommend this to those who are big fans of Holmes. Just keep in mind the ending is quite a letdown and the story lacks a fully fleshed out villain. If you can get past this, you’re in for a fairly interesting story that does have its moments of enjoyment.
This entire review has been hidden because of spoilers.
October 9, 2009
I have to admit, everything that is about the beloved Phantom of the Opera catches my eye, my mind.
I bought this book at the end of August, on a whim, right before leaving for my vacation. I just thought Sherlock and the Opera Ghost? That should be interesting.
I am familiar with Sherlock Holmes stories but I had never read any of the stories written by Sir Arthur Conan Doyle before. What I found a bit awkward at first was to get into the skin of Sherlock, get used to his personality, how he speaks and moves, etc. Once this was done, the rest was a piece of cake.
This story is a retelling of Gaston Leroux's The Phantom of the Opera. Rather than be focused on the love triangle that constitutes the original novel, we experience the story through Holmes eyes.
One thing that bothered me was the past of the Opera Ghost. He doesn't have the same name, gets himself called Nobody. I find it hard to find sympathy for him as we see so little of him. Christine is still a little girl. Raoul, we do not get to know him this much.
Nevetheless, it was an easy read, interesting, captivating. Would definitely read it again and read more of Meyer and also Doyle's stories.
I bought this book at the end of August, on a whim, right before leaving for my vacation. I just thought Sherlock and the Opera Ghost? That should be interesting.
I am familiar with Sherlock Holmes stories but I had never read any of the stories written by Sir Arthur Conan Doyle before. What I found a bit awkward at first was to get into the skin of Sherlock, get used to his personality, how he speaks and moves, etc. Once this was done, the rest was a piece of cake.
This story is a retelling of Gaston Leroux's The Phantom of the Opera. Rather than be focused on the love triangle that constitutes the original novel, we experience the story through Holmes eyes.
One thing that bothered me was the past of the Opera Ghost. He doesn't have the same name, gets himself called Nobody. I find it hard to find sympathy for him as we see so little of him. Christine is still a little girl. Raoul, we do not get to know him this much.
Nevetheless, it was an easy read, interesting, captivating. Would definitely read it again and read more of Meyer and also Doyle's stories.
July 5, 2018
The Canary Trainer is my least favorite of the Nicholas Myer Holmes pastiches. I didn't find it all that interesting, perhaps because I've already read The Phantom of the Opera, which this book borrows from liberally, a bazillion times and it's a much better book than this one to begin with. Holmes and the POTO just aren't a great mix. I also prefer stories where Holmes and Watson are working together, and in this one Watson was left out of the main story entirely. The book as a whole was something of a let down. I mean, Holmes didn't even really solve the mystery, did he? He admits at the end that it seems that he was wrong as to the culprit's identity, and there are several questions Watson raises that are left unanswered. Seemed a bit lazy. It was fun reading through all of Meyer's pastiches, but if I ever do a reread of them, I'll leave this one out.
This entire review has been hidden because of spoilers.
October 17, 2018
now i am hooked. This was such a great, easy and creative book. i was hooked after the first page.
The characters were easy to fall in love with and follow, along with the story. the author made the mental visions so easy and vivid of the surroundings and the characters actions felt so real.
i would highly recommend this author and this book.
The characters were easy to fall in love with and follow, along with the story. the author made the mental visions so easy and vivid of the surroundings and the characters actions felt so real.
i would highly recommend this author and this book.
July 8, 2009
Totally amazing nd Holmes is so well-written that he's beliveable. Everything by Mayer is, in my opinion, amazing...
September 14, 2025
Didn’t enjoy this nearly as much as Meyer’s previous Holmes adventure, The Seven Per-Cent Solution, but this novel had its moments.
April 26, 2020
This book was on my to-read list as soon as I heard of it—several years before I knew Meyer had in fact written a whole series of Sherlock Holmes books—because it combines two of my favorite pieces of fiction, Sherlock Holmes and the Phantom of the Opera. After reading Meyer’s two earlier books a few years ago and rereading THE PHANTOM OF THE OPERA for the third or fourth time earlier this month, I was even more excited.
However, I think my opinion of this book suffered a lot from my being too familiar with and too attached to THE PHANTOM OF THE OPERA. I already had a sense of how faithful to the Sherlock Holmes stories Meyer had been in his previous books, and already appreciated his style of approaching them. But I didn’t know what to expect from him in his treatment of PHANTOM, and especially since I had just read it, I really noticed every departure Some make sense from a story perspective (combining some characters or omitting plot points), but others just felt capricious or lazy, especially because of how closely he stuck to the original novel (as opposed to other adaptations) in most other respects. This was most obvious in the characterization of Raoul & Christina’s relationship, but I had some pretty major issues also with the depiction of the Phantom, who comes off as flat and not nearly scary or mysterious enough. This partly comes, I think, from Meyer’s choice to have Holmes rather than Watson narrate the story (Watson narrated the previous two books). Holmes witnesses too little o what the Phantom (instead of calling him Erik, Meyer has him go by the English word “Nobody,” which adds needless passages about confusion, as of all the characters only Holmes speaks English, and this all for the questionable payoff of Holmes being able to make a lot of Odyssey references that feel out of place) does, and his hyper-rational mind is too quick to try to explain away what he does witness or learn, even when his explanations turn out to be wrong. I think having Watson’s credulity and excitability along on the case would have helped the Phantom keep more of his mystique. I also think Watson would have been more sympathetic to Christine and Raoul; Holmes is fairly patronizing and condescending towards both of them (Doyle’s Holmes might have been less than polite about clients to Watson, but he wasn’t as borderline-rude to them directly as Meyer’s version is to the two young lovers, which made it hard to feel invested in what happened to them. Making Holmes the narrator also results in a too-lengthy frame piece of Watson convincing Holmes to tell the story, which messes with the pace.
There were elements of the book I did like, though. I really enjoyed the use Meyer makes of other characters and incidents from the Holmes stories, his incorporation of music (Holmes’ violin-playing is a pretty central plot point) and his incorporation of French history. He uses a lot of the same history Leroux did in crafting the original novel, but adds to and develops it in really interesting ways. The few original characters were also great, particularly the Watson surrogate (whose name I don’t know how to spell because I listened to an audiobook and French pronunciation is weird). So this was a good book, but unfortunately less than the sum of its parts.
Format notes: listened to the Audible audiobook read by David Case. He did a pretty good job, but I really didn’t like the voices he picked for a few characters, particularly Christine and the Phantom (he made the Phantom sound mostly whiny instead of scary).
However, I think my opinion of this book suffered a lot from my being too familiar with and too attached to THE PHANTOM OF THE OPERA. I already had a sense of how faithful to the Sherlock Holmes stories Meyer had been in his previous books, and already appreciated his style of approaching them. But I didn’t know what to expect from him in his treatment of PHANTOM, and especially since I had just read it, I really noticed every departure Some make sense from a story perspective (combining some characters or omitting plot points), but others just felt capricious or lazy, especially because of how closely he stuck to the original novel (as opposed to other adaptations) in most other respects. This was most obvious in the characterization of Raoul & Christina’s relationship, but I had some pretty major issues also with the depiction of the Phantom, who comes off as flat and not nearly scary or mysterious enough. This partly comes, I think, from Meyer’s choice to have Holmes rather than Watson narrate the story (Watson narrated the previous two books). Holmes witnesses too little o what the Phantom (instead of calling him Erik, Meyer has him go by the English word “Nobody,” which adds needless passages about confusion, as of all the characters only Holmes speaks English, and this all for the questionable payoff of Holmes being able to make a lot of Odyssey references that feel out of place) does, and his hyper-rational mind is too quick to try to explain away what he does witness or learn, even when his explanations turn out to be wrong. I think having Watson’s credulity and excitability along on the case would have helped the Phantom keep more of his mystique. I also think Watson would have been more sympathetic to Christine and Raoul; Holmes is fairly patronizing and condescending towards both of them (Doyle’s Holmes might have been less than polite about clients to Watson, but he wasn’t as borderline-rude to them directly as Meyer’s version is to the two young lovers, which made it hard to feel invested in what happened to them. Making Holmes the narrator also results in a too-lengthy frame piece of Watson convincing Holmes to tell the story, which messes with the pace.
There were elements of the book I did like, though. I really enjoyed the use Meyer makes of other characters and incidents from the Holmes stories, his incorporation of music (Holmes’ violin-playing is a pretty central plot point) and his incorporation of French history. He uses a lot of the same history Leroux did in crafting the original novel, but adds to and develops it in really interesting ways. The few original characters were also great, particularly the Watson surrogate (whose name I don’t know how to spell because I listened to an audiobook and French pronunciation is weird). So this was a good book, but unfortunately less than the sum of its parts.
Format notes: listened to the Audible audiobook read by David Case. He did a pretty good job, but I really didn’t like the voices he picked for a few characters, particularly Christine and the Phantom (he made the Phantom sound mostly whiny instead of scary).
July 14, 2018
Als Star Trek- und Sherlock Holmes-Fan zugleich kommt man an Nicholas Meyer (Regisseur von Star Trek: Der Zorn des Khan und Star Trek: Das unentdeckte Land) natürlich nicht vorbei. Daher hatte sein Pastiche "Sherlock Holmes & das Phantom der Oper" schon etwas länger auf meiner Leseliste gestanden.
Die Handlung spielt zur Zeit des "großen Hiatus", also nach dem vermeintlichen Tod von Holmes an den Reichenbach-Wasserfällen in der Schweiz. Den Detektiv hatte es danach nach Mailand verschlagen; nun lebt er in der Identität eines Norwegers namens Sigerson in Paris und versucht dort, sich als Geigenlehrer durchzuschlagen - da seine Schüler jedoch recht untalentiert sind, stoßen die Geigenstunden bei seiner Vermieterin und den Nachbarn auf großes Missfallen, so dass sich Sherlock Holmes einen anderen Job suchen muss.
Zufällig bekommt Sherlock Holmes bei einem Besuch der berühmten Priser Oper mit, dass einer der ersten Geiger entnervt seine Stellung dort aufgibt. Holmes bewirbt sich und wird eingestellt, worüber er sehr stolz ist. Auch dort nennt er sich Sigerson und gibt vor, ein Norweger zu sein. Allerdings wird kurze Zeit später eine New Yorker Sängerin namens Irene Adler eingestellt - also ausgerechnet "die Frau", Holmes geheime Liebe.
Schlimmer noch: In den riesigen, verwinkelten Gebäudetrakten und Katakomben der Pariser Oper scheint sich ein Geist herumzutreiben - ein Phantom, dass die Menschen ängstigt und versucht, Einfluss auf die Programmgestaltung der Opernleitung zu nehmen. Um seine Forderungen durchzusetzen, verübt das Phantom sogar mehrere Mordanschläge und entführt eine junge Sängerin. Sherlock Holmes begreift, dass er hier aktiv werden muss; wenngleich hierdurch das Risiko steigt, als Sherlock Holmes entlarvt zu werden.
Zum Glück ist Irene Adler nicht daran interessiert, seine wahre Identität zu enthüllen, sondern unterstützt ihn bei seinen Ermittlungen; zumindest für eine begrenzte Zeit. Den großen Showdown mit dem Phantom an einem unterirdischen See muss Holmes allerdings allein überstehen ...
Nicholas Meyer hat die bekannte und mehrfach verfilmte Phantom-Erzählung von Gaston Leroux aufgegriffen und zu einem Holmes-Pastiche umgebaut. Die Story ist flüssig und spannend geschrieben und wirkt durchaus glaubhaft, da man weiß, dass Holmes französische Vorfahren hatte und sowohl der französischen Sprache als auch des Geigenspiels mächtig war.
Lediglich das (kurze) Wiedersehen mit Irene Adler wirkt etwas aufgesetzt, da sie letztlich eine unbedeutende Nebenfigur bleibt und bald wieder aus der Oper und damit der Handlung entschwindet. Zudem wirkt die Story an manchen Stellen etwas zu routiniert runtergeschrieben. Für Sherlock Holmes-Fans aber in jedem Falle lesenswert. Daher 4 von 5 Sternen ****
Die Handlung spielt zur Zeit des "großen Hiatus", also nach dem vermeintlichen Tod von Holmes an den Reichenbach-Wasserfällen in der Schweiz. Den Detektiv hatte es danach nach Mailand verschlagen; nun lebt er in der Identität eines Norwegers namens Sigerson in Paris und versucht dort, sich als Geigenlehrer durchzuschlagen - da seine Schüler jedoch recht untalentiert sind, stoßen die Geigenstunden bei seiner Vermieterin und den Nachbarn auf großes Missfallen, so dass sich Sherlock Holmes einen anderen Job suchen muss.
Zufällig bekommt Sherlock Holmes bei einem Besuch der berühmten Priser Oper mit, dass einer der ersten Geiger entnervt seine Stellung dort aufgibt. Holmes bewirbt sich und wird eingestellt, worüber er sehr stolz ist. Auch dort nennt er sich Sigerson und gibt vor, ein Norweger zu sein. Allerdings wird kurze Zeit später eine New Yorker Sängerin namens Irene Adler eingestellt - also ausgerechnet "die Frau", Holmes geheime Liebe.
Schlimmer noch: In den riesigen, verwinkelten Gebäudetrakten und Katakomben der Pariser Oper scheint sich ein Geist herumzutreiben - ein Phantom, dass die Menschen ängstigt und versucht, Einfluss auf die Programmgestaltung der Opernleitung zu nehmen. Um seine Forderungen durchzusetzen, verübt das Phantom sogar mehrere Mordanschläge und entführt eine junge Sängerin. Sherlock Holmes begreift, dass er hier aktiv werden muss; wenngleich hierdurch das Risiko steigt, als Sherlock Holmes entlarvt zu werden.
Zum Glück ist Irene Adler nicht daran interessiert, seine wahre Identität zu enthüllen, sondern unterstützt ihn bei seinen Ermittlungen; zumindest für eine begrenzte Zeit. Den großen Showdown mit dem Phantom an einem unterirdischen See muss Holmes allerdings allein überstehen ...
Nicholas Meyer hat die bekannte und mehrfach verfilmte Phantom-Erzählung von Gaston Leroux aufgegriffen und zu einem Holmes-Pastiche umgebaut. Die Story ist flüssig und spannend geschrieben und wirkt durchaus glaubhaft, da man weiß, dass Holmes französische Vorfahren hatte und sowohl der französischen Sprache als auch des Geigenspiels mächtig war.
Lediglich das (kurze) Wiedersehen mit Irene Adler wirkt etwas aufgesetzt, da sie letztlich eine unbedeutende Nebenfigur bleibt und bald wieder aus der Oper und damit der Handlung entschwindet. Zudem wirkt die Story an manchen Stellen etwas zu routiniert runtergeschrieben. Für Sherlock Holmes-Fans aber in jedem Falle lesenswert. Daher 4 von 5 Sternen ****
August 9, 2024
Sherlock Holmes pastiche. Holmes is dead after falling off Reichenbach Falls so he decides to go on holiday. He changes his name and moves to Paris. He soon gets a job as violinist in the Paris Opera. Turns out the Paris Opera has a ghost. Some guy gets dead, then a bunch of people get dead, and Holmes finds himself drawn back to his old profession. SPOILER ALERT:
This is Holmes meets the Phantom and it is very well done. Mostly because Meyer is constrained to follow the narrative laid down by Gaston Leroux. Meyer has to shoehorn Holmes into the story sometimes, but it is very interesting to see this story told from an outside POV. This means that the psychology that drives the Ghost as described by Leroux is missing so all we see are the actions of a madman, and you can imagine how Holmes reacts to that.
A large underlying part of the book is the psychology of Holmes himself. He has just recovered from a serious drug addiction and a complete mental breakdown. Now he wants to escape from his past and start a new life in a new place. This means he is not at his best as a detective, missing clues, without his disguises and network of informants, and most all missing Watson. Holmes is well aware that he is not at the top of his game and berates himself for it constantly.
This is the best of the Meyer works so far. It also includes a certain opera singer that will be familiar to all Holmes fans.
Note: Nicholas Meyer wrote or co-wrote several movies, including "Time After Time", as well as the two good Star Trek movies, II and IV, and one bad one, VI.
This is Holmes meets the Phantom and it is very well done. Mostly because Meyer is constrained to follow the narrative laid down by Gaston Leroux. Meyer has to shoehorn Holmes into the story sometimes, but it is very interesting to see this story told from an outside POV. This means that the psychology that drives the Ghost as described by Leroux is missing so all we see are the actions of a madman, and you can imagine how Holmes reacts to that.
A large underlying part of the book is the psychology of Holmes himself. He has just recovered from a serious drug addiction and a complete mental breakdown. Now he wants to escape from his past and start a new life in a new place. This means he is not at his best as a detective, missing clues, without his disguises and network of informants, and most all missing Watson. Holmes is well aware that he is not at the top of his game and berates himself for it constantly.
This is the best of the Meyer works so far. It also includes a certain opera singer that will be familiar to all Holmes fans.
Note: Nicholas Meyer wrote or co-wrote several movies, including "Time After Time", as well as the two good Star Trek movies, II and IV, and one bad one, VI.
June 22, 2025
The Canary Trainer by Nicholas Meyer—a Holmes pastiche that flutters daringly between violin strings and opera wings, espionage and emotion. This one belongs to that strange, elegant realm where fiction meets meta-fiction: Holmes, incognito as a violinist at the Paris Opera House, brushes shoulders with Gaston Leroux’s Phantom of the Opera—and survives to solve another day.
This is Nicholas Meyer’s boldest stroke—a tale set during Holmes’s mysterious “Great Hiatus,” where the detective, presumed dead after Reichenbach, reemerges in Paris… under the assumed identity of Sigerson, violinist extraordinaire. Meyer delights in spinning this premise into a swirling, romantic murder mystery centered on the Paris Opera House—yes, the very one haunted by The Phantom.
Holmes becomes embroiled in a case involving Christine Daaé, masked secrets, and subterranean shadows. The book walks a tightrope between literary homage and genre-bending whimsy. It’s less about deduction, more about atmosphere, identity, and the idea of Holmes in exile—stripped of his London stage, yet still haunted by mysteries. Watson, as ever, returns to narrate the tale with his trademark blend of affection and awe.
I read this book while stuck at Palam Airport, during a long flight delay—Paris felt much closer than the boarding gate. The sound of airport announcements mingled with imagined arias, and I swear, for a moment, I thought I saw Holmes walking past with a violin case. Meyer reminded me that even in absence, Holmes exists—in disguise, in exile, in the wings. Always watching. Always listening.
This is Nicholas Meyer’s boldest stroke—a tale set during Holmes’s mysterious “Great Hiatus,” where the detective, presumed dead after Reichenbach, reemerges in Paris… under the assumed identity of Sigerson, violinist extraordinaire. Meyer delights in spinning this premise into a swirling, romantic murder mystery centered on the Paris Opera House—yes, the very one haunted by The Phantom.
Holmes becomes embroiled in a case involving Christine Daaé, masked secrets, and subterranean shadows. The book walks a tightrope between literary homage and genre-bending whimsy. It’s less about deduction, more about atmosphere, identity, and the idea of Holmes in exile—stripped of his London stage, yet still haunted by mysteries. Watson, as ever, returns to narrate the tale with his trademark blend of affection and awe.
I read this book while stuck at Palam Airport, during a long flight delay—Paris felt much closer than the boarding gate. The sound of airport announcements mingled with imagined arias, and I swear, for a moment, I thought I saw Holmes walking past with a violin case. Meyer reminded me that even in absence, Holmes exists—in disguise, in exile, in the wings. Always watching. Always listening.
September 26, 2023
I am a sucker for a good Holmes pastiche, and Nicholas Meyer is one of the modern-day gold standards for such works. His The Seven-Per-Cent Solution was my first venture into "non-canonical" Holmes stories, and remains a particular favorite. When he began publishing new novels after a long hiatus (heh) a couple of years ago, I resolved i would get "current," but must admit it has taken me a while to get around to this one.
Weaving Holmes into Gaston Leroux's gothic of the Paris Opera during the Great Hiatus was a wonderfully unexpected touch. Many authors have endeavored to "fill in the blank" between Reichenbach and Sherlock's triumphant return, but Meyer's thorough research into Baring-Gould, the history of the period, etc., make this all the more convincing as a true "lost" Holmes novel. The tone is by necessity different, as the Great Detective is operating without his faithful Watson, and narrating virtually the entire story in the first person, decades after the events described. But the voice of Sherlock rings true on every page.
On to the Peculiar Protocols soon, I think. Hopefully Meyer has a few more in him as well. All three I've read so far have been fantastic books.
Weaving Holmes into Gaston Leroux's gothic of the Paris Opera during the Great Hiatus was a wonderfully unexpected touch. Many authors have endeavored to "fill in the blank" between Reichenbach and Sherlock's triumphant return, but Meyer's thorough research into Baring-Gould, the history of the period, etc., make this all the more convincing as a true "lost" Holmes novel. The tone is by necessity different, as the Great Detective is operating without his faithful Watson, and narrating virtually the entire story in the first person, decades after the events described. But the voice of Sherlock rings true on every page.
On to the Peculiar Protocols soon, I think. Hopefully Meyer has a few more in him as well. All three I've read so far have been fantastic books.
September 17, 2019
When an author tells you from the start that the voice of a novel is going to be different, I find it unfair to criticize him when he's told you the truth. In this case, Meyer said that the voice of this novel would be different because it's basically a narration by Holmes of what was, at the time, a very old case that happened when Watson wasn't around. I can also see why Holmes wouldn't have related the story sooner, because a few of the events in it would have been embarrassing to him at the time.
That said, the mash-up with Phantom of the Opera was handled very well, especially the weird extra basements in the theater that could only exist in the Phantom of the Opera story. Making the author of that book into the orchestra leader was a clever little extra.
I had failed to pick this book up when it came out, and only noticed it because of publicity about the new one.
I could not give this novel a fifth star because there were, in fact, some plot flaws, including some things about the disguised identities that Holmes was using, and how his ill-thought-out cover story took so long to get caught. Still, the book was a fun one, enjoyable for fans of Holmes and Watson, but not as good as The Seven Percent Solution in terms of serious literature.
That said, the mash-up with Phantom of the Opera was handled very well, especially the weird extra basements in the theater that could only exist in the Phantom of the Opera story. Making the author of that book into the orchestra leader was a clever little extra.
I had failed to pick this book up when it came out, and only noticed it because of publicity about the new one.
I could not give this novel a fifth star because there were, in fact, some plot flaws, including some things about the disguised identities that Holmes was using, and how his ill-thought-out cover story took so long to get caught. Still, the book was a fun one, enjoyable for fans of Holmes and Watson, but not as good as The Seven Percent Solution in terms of serious literature.
January 17, 2020
Another great novel by Nicholas Meyer! Again, I have not read any of the original Sherlock Holmes novels, so I can’t speak as to how believable this novel is, but it’s a rollicking fun ride. I didn’t realize until I got quite a bit into it that it’s also a mash-up with the Phantom of the Opera, which I also haven’t read (though I saw a production of it at the Kennedy Center in Washington, DC, in 1997).
This book picks up from the earlier The Seven-Per-Cent Solution, in which Watson and Dr Sigmund Freud manage to help Holmes in kicking his addiction to cocaine. Now Holmes is in Paris, and while reports of his death are untrue, he decides to live as though they are, and he makes his living as a violinist at the Paris Opera House. And this is where the plot line of the Phantom of the Opera comes in.
This is quite a fast read, which makes it a perfect palate cleanser between heavier novels. Plus this novel was published 20 years after the first, which meant the font was so much easier to read than in the previous book.
This book picks up from the earlier The Seven-Per-Cent Solution, in which Watson and Dr Sigmund Freud manage to help Holmes in kicking his addiction to cocaine. Now Holmes is in Paris, and while reports of his death are untrue, he decides to live as though they are, and he makes his living as a violinist at the Paris Opera House. And this is where the plot line of the Phantom of the Opera comes in.
This is quite a fast read, which makes it a perfect palate cleanser between heavier novels. Plus this novel was published 20 years after the first, which meant the font was so much easier to read than in the previous book.
November 18, 2020
3.5 because it was entertaining enough. In The Adventure of the Solitary Cyclist, Dr. Watson says (i.e. Conan Doyle writes) regarding which cases to share with his readers, "I shall, however, preserve my former rule, and give the preference to those cases which derive their interest not so much from the brutality of the crime as from the ingenuity and dramatic quality of the solution." What I have found all too often in these Holmes pastiches is far too little ingenuity and far too much brutality. This story is not as brutal as some, but it definitely doesn't showcase Holmes' ingenuity which I must attribute to the author lacking the ability to think up many ingenious observations or deductions for Holmes to make.
Additionally, it was more a retelling of the Phantom of the Opera than a Holmes case. Fortunately, I have interest in that subject which is why it held my interest even as I cringed when this Holmes made errors that Conan Doyle's Holmes would never make, and especially when he seemed to show romantic feelings.
This author also felt he needed to pad the story with a lot of info on 1890s Paris. Again, fortunately, I found that interesting enough although it took away from the flow of the story.
Additionally, it was more a retelling of the Phantom of the Opera than a Holmes case. Fortunately, I have interest in that subject which is why it held my interest even as I cringed when this Holmes made errors that Conan Doyle's Holmes would never make, and especially when he seemed to show romantic feelings.
This author also felt he needed to pad the story with a lot of info on 1890s Paris. Again, fortunately, I found that interesting enough although it took away from the flow of the story.
January 7, 2023
In this edition, Homes is ostensibly dead and in hiding in Paris when he meets Irene Adler. Adler has taken up singing in the Paris Opera and wants Holmes to protect her friend, a soprano who is being courted by a nobleman and haunted by a mysterious figure in the opera house. To make his presence in the soprano's world make sense, Holmes auditions for the pit orchestra and takes his place on violin at the base of the stage.
The adventure that ensues is the Holmes version of The Fantom of the Opera. Meyer once again does a great job of imitating the style of Conan-Doyle. It is fun to be in Paris with Holmes with lots of references to the original works. But while the original Fantom took upwards of 500 pages, Meyer's book is a tidy 228 pages that one might easy read in an afternoon.
In many things I am a purist preferring the original to adaptations and imitators. I have been surprised to find these Holmes books written by modern authors so enjoyable. I have read and re-read the originals. These are a fun extension that allows a visit to the world of Holmes and Watson with some new twists and apologies for any inconsistency in style owing to the mysterious source of the manuscript. Fun.
The adventure that ensues is the Holmes version of The Fantom of the Opera. Meyer once again does a great job of imitating the style of Conan-Doyle. It is fun to be in Paris with Holmes with lots of references to the original works. But while the original Fantom took upwards of 500 pages, Meyer's book is a tidy 228 pages that one might easy read in an afternoon.
In many things I am a purist preferring the original to adaptations and imitators. I have been surprised to find these Holmes books written by modern authors so enjoyable. I have read and re-read the originals. These are a fun extension that allows a visit to the world of Holmes and Watson with some new twists and apologies for any inconsistency in style owing to the mysterious source of the manuscript. Fun.
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