Fearless

IX

Having nowhere else to go, the opera was obviously the place where Erik took his refuge upon a broken heart. The home in the catacombs, and across the lake had suited him nicely, however much he hadn't wanted a thing to do with it before. In that way, however, he was able to submerge himself completely in his work and make fourth chair on the opera's board. He really hadn't even stayed long in his first position as their last chair, when Aluin Mennen, the man once after Arielette's affections, quit the board since her presence was null at the opera house.

Day to day Erik did see Charles Lestat though, and even Anton graced the opera's presence, but Erik hadn't seen Arielette since she'd told him away.

Philippe de Chagny and Marc Terfat became the stable parts of Erik's life, being very good friends to him over time. Philippe got Erik connections and a respectable name and face, and Marc gave him social skills he hadn't quite picked up from the years in a gypsy environment, though his part in the opera had lessened due to having started a family.

The catacombs made Erik even more silent and resilient than he had been once before, and his outer shell was more of a brick wall than thin layers of skin after seven years. He moved like a cat, silent in the night, and his eloquence in opera and business was unparalleled.

The board consisted of all new members then, himself, de Chagny, Terfat, and Charles being the only ones constant over the past seven years. Philippe was older than Erik and Marc, but sooner or later he was bringing in his brother regardless to take his place, so he could enjoy an early retirement. The man was twenty years elder to his brother, Raoul de Chagny, who Erik had only met once in passing on a social visit to the de Chagny manor.

Erik's career had moved from piano compositions, to entire operas that Charles didn't even glance at before approving to be played upon the stage at the Opera Populaire. He was a proud man, and felt awful that Arielette had done what she had to him, but after the first day, he treated him like a friend instead of a son-in-law. There would be no replacement for that title, not for Charles anyways.

In his spare time, Erik found another talent that he'd latched upon with vigor the opera house hadn't seen coming. He tutored young singers in their voices. Of course, the blame for this was the residual yearning Erik had to hear Arielette's voice that Charles and Diane swore up and down was beautiful. Not that it mattered. So he taught young women and men in the chorus their craft, perfecting voices here and there.

About a year after Arielette had left the masked-man, the board had been forced to hire a new violinist, which was a complete bear of a task. Many people would come and attempt to sway the fine ears of the Opera Populaire board, yet sometimes there never seemed to be the right fit, and that was always the case with violins.

It was a miracle they found Gustave Daae. He had been the most talented violin the opera had ever heard, and Erik was so thoroughly impressed by him, Charles Lestat had hired him right upon the spot.

With him, however, came his musically inclined daughter. She needed lessons, however, to train her voice and perfect technique. So, Erik volunteered, the task of Christine Daae, his first student. She opened the door of his teaching profession, and because her voice carried her far beyond a seraph's, her career blossomed.

When her father passed five years later, she only found solace in Erik's lessons, and then in his arms. His embrace eventually turned to hers, and they were engaged to be married as the seventh year of Arielette leaving him passed by.

He still thought about his first love and how raw the pain of her rejection was to that day, but he was happy and in love with Christine Daae. For the longest time, even though Philippe had tried his hardest to set up multiple women for him, Erik hadn't ever thought one would take. And to actually have a second woman attracted to him was a miracle in his eyes.