So, to start off, the entire existence of this post is due to a recently resurfaced, flagrantly unauthorized soundboard recording of the OFC. If our lovely mod would prefer not to have the existence of such things revealed on a public forum, she is welcome to move this thread.
I'm not going to try a transcription of all the lyrics, because (a) that would take a lot of work, (b) my French isn't good enough, and (c) the soundboard, though excellent quality overall, has a couple spots where the tape must've decayed a bit and it's hard to hear. So this is basically a summary.
Prologue: a man's voice reading Victor Hugo's preface to the novel ("...books like this cannot be unnecessary")
La Journée est finie: as on the recording
L'Air de la misère: as on the recording
La Nuit: Similar to Lovely Ladies. Sailors and prostitutes coming out at night to do their business. "La nuit, la nuit, on est maître à bord / maître de la ville pendant que le bourgeois s'endort..." Sailors get a verse, prostitutes get a verse, then "Les beaux cheveux que voilà" as on the recording. Then the sailors and the prostitutes sing a verse together (similar to "Lovely lady, fastest on the street..."), then the whores in unison sing something loosely akin to the "Give me the dirt, who's that bit over there?" part, then one by one for the "Come on dearie, why all the fuss?" lines. ("Et si l'homme est parfois cruel entre tes cuisses, ferme les yeux, pense à ton amoureux...") And instead of the sudden return to the upbeat music when Fantine runs off with a sailor, we get...
J'avais rêvé d'une autre vie: As on the recording, but has the intro: "Doux Seigneur, que vous ai-je fait / Pour que plus je tombe et plus vous me laissiez tomber? / Doux Jésus, que m'avez-vous fait? / J'ai perdu tout ce que j'avais, je n'ai plus que moi à partager."
L'arrestation de Fantine: After the "La Nuit" reprise that's on the recording, Bamatabois shows up and the scene plays out almost exactly as in the London version, except that the male chorus joins in on the last line of his rant, and the female chorus (presumably the whores) tries to calm him down. Lyrically there is a LOT more emphasis on the "worthless guttersnipe just mouthed off to an Honest Upstanding Property-Owning Citizen, by god I'll teach her some respect!" aspect. After Javert's entrance it plays out as it does on the recording.
Fauchelevent: there is no stupid runaway cart music, but there is a longer version of the "Look at that, look at that, it's Monsieur Fauchelevent!" part, with multiple instances of Valjean begging someone to save Fauchelevent or he'll do it himself, and the chorus responding with, essentially, "Don't do it, it's not worth it, his life isn't worth yours, he has no one on earth to regret him." The rest of the scene is pretty similar to the London version.
Javert: is a suspicious bastard as usual, and the scene plays out almost exactly as in the London version, except that this time the ante is upped: Champmathieu will be executed if Valjean doesn't intervene.
Comment faire?: Oh yes, this is in there. Has a lot of the same lines as the PRC lyrics. Except Valjean gets a nice Time-Out For Exposition in the middle, to the tune of Valjean's confession, about how he stole a loaf of bread and spent 19 years in prison and there was this really nice bishop who... okay you all know the story. And how he became mayor of Montreuil-sur-Mer. And then we go back to normal "Who Am I?" except that for the last line, "Jean Valjean c'est moi," we get a dramatic low note instead of a dramatic high note.
Mort de Fantine: Offstage, apparently? There's a narrator-guy who speak-sings "La Fantine est morte sans famille / En disant, 'Mon Dieu, sauvez ma fille'" and that's it. Then, to the same recitative as Runaway Cart etc., Valjean asking Javert for enough time to go fetch Cosette, Javert going "Bitch PLZ," and the chorus in unison telling Valjean to run for it.
Mon Prince est en chemin/Mam'zelle Crapaud: As on the recording.
Maître Thénardier: Has the intro with chorus in unison, including the male chorus recounting Thénardier's, um, questionable heroism at Waterloo. Then Thénardier enters and everyone asks him to entertain them for a while by explaining the tricks of his trade, and the song goes on as usual.
La Transaction: As on the recording (no well scene).
Valse de la Fourberie: As on the recording. Followed by a long orchestral interlude that doesn't really resemble ANYTHING that's currently in the show, except that the first few notes sound like a variation on the La Misère theme maybe? (And no, it is not the same as the Barbican sewer chase music.) It's kind of peaceful and probably shows the passage of time as Cosette grows up.
Donnez: Weird dynamics here, odd crescendo on "donnnEZ!" that might actually be tape decay. I can't tell. After the orchestral part (the part that, in the current version, is used for the sewer chase), the chorus gets a unison part that's similar in form to the "what d'you think you're at, hanging 'round my pitch" part, and similar in substance to the "when's it gonna end, when're we gonna live?" part, and repeats a few times to develop on the general themes of poverty and misery. Then Frenchboys come in as usual to talk about Lamarque, Thénardier's gang plots the robbery, etc. Everything is normal up through Éponine's "...pour que ce soir on ait à manger."
THEN. YOU GUYS. MARIUS AND Éponine GET A REPRISE OF LA MISÈRE. It starts with Marius angsting about Cosette and despair and how he never sees her in the Luxembourg anymore and moooore despaaaair. And Éponine coming in with... actually I'm not entirely sure what she's on about. And then they start singing together in harmony what might be the best undiscovered lines in the whole damn musical:
La misère, comme une fille publique
Dans la rue enfante la République
And it comes to a fantastically cheesy 80s climax and oh god I need to transcribe the whole thing someday. I can't understand the last couple of lines but they definitely manage to rhyme "abîme" and "sublime" and... DUDE, so much crack.
And then there's the robbery, with the slight twist that Marius already knows the old guy is Monsieur Leblanc and is all "Éponine DO SOMETHING" and Éponine is all "WTF DO YOU WANT ME TO DO." And Javert intervenes as usual, and apparently Valjean doesn't have a brand on his chest but a tattoo on his arm.
No Stars, just Gavroche being a smartass in direct parody of Javert's lines. And no Éponine's Errand, since they kind of covered that in the "WTF DO YOU WANT ME TO DO" section.
Trumpetty ABC Café intro music, cut straight into a never-before-heard verse of Red and Black. Somebody (maybe Grantaire?) is telling Marius to lighten up and take his inspiration from Molière instead of Shakespeare, because it's more fun to be Don Juan than Romeo. To which Marius responds sulkily that life is not an opera. Red and Black continues as on the recording, is followed by ABC Café as on the recording, and is immediately followed by "A la volonté du peuple."
Then a long orchestral interlude going into "I Saw Him Once," now titled "Te souviens-tu du premier jour?" Which is Cosette talking to her doll Catherine about the first time she saw her, and isn't Papa good to us, and oh god we just had to change houses AGAIN? And Valjean comes up and goes "Oh sorry I've interrupted a conversation, obvs, I'll drag my sorry old ass somewhere else." And Cosette pouts about how he's never there, and won't he stay more often, and she gets terribly lonely when he's gone because Catherine is the only other company she ever gets. All this more-or-less corresponds to the first part of In My Life.
Dans la vie: as on the recording
Voilà le soir qui tombe: as on the recording, except that the "j'ai voulu protéger l'amour" bit isn't there and it jumps straight to "courez vite auprès d'elle."
L'un vers l'autre is before Le Coeur au bonheur.
Attack on the Rue Plumet is entirely orchestral, except for Éponine's scream. Valjean hurrying in to check on Cosette is the same as in the London version, except that Cosette doesn't claim to have screamed, she says she heard a cry in the distance and saw bandits running away.
Demain: IS IN THE RIGHT PLACE. I don't know what weirdness of the OFC placed this song so that it seems halfway through Act II; on the soundboard it is exactly where it is in the London version.
Thus ends Act I; will do Act II later, as I'm tired and most of the divergence is in Act II. Seriously, the most surprising thing about the first half is how SIMILAR it is to the Barbican version. The official recording makes it sound waaay different, as though half the songs aren't there, but in reality they were and they just weren't on the recording.
And yes, it is sung through.
[Dieu] entend ta voix, ô fille des hommes! aussi bien que celle des constellations; car rien n'est petit pour celui devant lequel rien n'est grand.
- George Sand, Les sept cordes de la lyre