My immediate instinct was to say no outright seeing as this is a gothic horror/romance, but on reflection I do think it’s a very nuanced situation. I guess it comes down to what you view as an equal relationship.

This ended up very long, probably way longer than it needed to be lol, so long answer below the cut, but a slightly shorter answer is that at the end of the day, there is as equal chance for an ending with the Voice as there is the other ROs should you want it, and while the vast majority of the story is a pretty toxic relationship, by that ending point it’ll be made clear that the two of you are in a place to have a more equal relationship, or to work on having one, moving forward.

Sure! Answer’s below the cut. While there are some fixed details, the rest I prefer to leave up to the player. All of this is info that’ll be dropped either in the story eventually or in future side stories. I absolutely refuse to give a specific year that the story is taking place - it’s just some unspecified year in the early 1880s.

R: This one is actually going to get answered slightly more in the story, but R's loved Daaé since you were children (whether or not that's romantic love is up to you). One of the things that made you such good friends was a mutual love of fairytales as kids, and in your first meeting R got to play the hero a bit and thus forever onwards thought of themselves as Daaé's knight in shining armour. Since they were sort of approaching that age where the adults around them were expecting them to start to grow out of playing make believe, it was especially meaningful to R that Daaé never mocked that little fantasy and sometimes in fact encouraged it (doubly so for fem!R for whom the idea of playing a knight would have been a significant break from expected gender norms).

Daroga: This one is going to definitely be answered in the story, but the gist of it is the fact that Daaé's an immigrant. It's not the most noticeable thing (Daaé's mostly lived in France and doesn't have an accent), but there's definitely a sense of a social barrier that is one of the things prevents Daaé from really developing strong connections with any individual (regardless of how much or little Daaé might try). The Daroga can relate to this a great deal, and it's something that makes them empathise with Daaé slightly more than they do other members of the opera. There's other story-related things that make the Daroga start to really keep an eye on Daaé, but this is something that made Daaé stand out to them well before the other external factors came into play.

Sorelli: Suspicion. For a long while Sorelli didn't honestly take that much notice of you. What really starts to get Sorelli to pay attention is when the Voice shows up (not that Sorelli knows it). Why is Daaé spending time at the opera house early in the morning when no one else is there? Why is Daaé behaving suddenly differently than before? Why are a host of other things happening around Daaé that individually would be nothing, but all together paint a picture of something else going on? Sorelli is very protective of her opera house and the people in it, so naturally she's going to pay attention to Daaé more - how else is she supposed to know if Daaé's the one that needs protecting or if Daaé's the one that the opera needs protecting from? She knows logically it all may be perfectly normal and benign, but she absolutely hates knowing that there's something going on that she doesn't get to be a part of.