Adrian Osmond | MOZART
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Mozart is the story of a young composer who is both liberated and tormented by his genius.  In his search for artistic and personal freedom, Mozart battles to break free from the stifling bonds of his family, his employer, and the expectations of his audience… but he cannot escape his own self.





Wolfgang / 볼프강 



Colloredo / 콜로레도


Leopold / 오폴트


Constanze /콘스탄체



Baroness / 슈테텐 남작부인


Nannerl / 난넬


Mrs Weber /


Schikaneder / 쉬카네더


Arco / 르코 

Amadé / 아마데 


Nannerl / 어린 난넬 


























Music Director / Conductor


Associate Director 

Set Designer 

Costume Designer 

Hair & Make-up Designer 

Lighting Designer 

Projection Designer 

Sound Designer 

Props Designer 

Stage Manager 

Production Manager 

Production Manager 

Assistant Music Director 

Assistant Music Director 

Rehearsal Accompanist 

Assistant Directors 

Assistant Choreographer 

Assistant Set Designer 

Assistant Stage Managers 

Assistant PMs 

Company Manager 


Adrian Osmond



Im Tae Kyung / 임태곙

Park Eun Tae / 박은태

Park Hyo Shin / 박효신

Min Young Ki / 민영기

Kim Su Yong / 수용

Park Cheol Ho / 박철호

Lee Jeong Yeol / 이정열

Kim Sophie / 김소향

Lim Jeong Hee / 임정희

Chung Jae Eun /

Shin Young Sook / 영숙

Cha Ji Yeon / 차지연

Bae Hae Sun / 해선

Yim Kang Hee / 임강희

Lee Kyung Mi / 이경미

Kim Hyun Sook / 김연숙

Jo Seong Ji / 성지

Park Hyung Kyu / 박영규

Hwang Man Ik /황만익

Yun Felix / 윤펠릭스

Kwak I An / 곽이안

Kim Cho Eun / 김초은

Choi Min Joo 최민주

Choi Ji Yi / 지이

Bae Hee Jin / 배희진

Kim Go Woon / 김고운

Lee Jae Hyeon / 이재현

Yoon Jung Yeol / 윤정열

Jung Tae Jun / 정태준

Jin Hyun Hee / 진현희

Lee Chang Wan / 이창완

Kim Hyon Seong / 김효성

Kim Bome / 김봄

Kim Cheol Ho / 김철호

Chung Mok Hwa / 정목화

Joo Hong Gyun / 주홍균

Kim Min Kyun / 김민균

Yang Si Eun / 양시은

Lee Do Hee / 이도희

Lee Seung Geun / 이승근

Lee Eun / 이은

Jeon Min Ji / 전민지

Choi Jong Sun / 최종신

Lim Yo Syep / 임요셉

Yoo Jeong Eun / 유정은

Chae Sung Uk / 채성욱

Choi Yei Na / 최예나

















홍정원  박기순  서지민



구유리  박선영

임슬기  전동선




Mozart is vast in its scope and ambition.  It aspires to reach beyond the standard conventions of musicals.  Its story is historical and contemporary, specific and universal.  It shifts between scenes of grand spectacle, and solo songs that are infused with complex psychology.

The audience follows someone growing up as a person and as an artist, someone who is struggling to resolve their extraordinary talent with their everyday flaws and desires.  Wolfgang strives to break free of the restrictions of his time at great personal cost.  (Although if you work in Seoul, the answer to what you sacrifice for your art is generally “sleep”!)          

The story shifts through a kaleidoscopic array of characters and encounters.  So our production aimed to move inside the dream life of an artist, to explore the sources of his inspiration and the full range of emotional experiences that envelop his music.  Instead of keeping Wolfgang’s talent at an unapproachable distance, we wanted to immerse the audience in the workings of his imagination as far as possible, and allow them to feel like they were participating in the act of creation.  This culminated in images from The Magic Flute swirling around the stage as he wrote that final opera.  To maximise the intensity of the experience, in this production Wolfgang stayed onstage throughout a 30-minute sequence of feverish scenes that culminated in his death; and as his health deteriorated, his creative powers reached their pinnacle.

Above all, Mozart reveals a young man in conflict with his father, and in conflict with himself.   We first meet Wolfgang as an obedient child touring Europe with his father Leopold, impressing the aristocracy.  As he grows up, he faces an all-too-familiar dilemma: does he respect the limiting wishes of his father, or does he follow his own instincts and desires?

It could be argued that Mozart’s fame was never greater than when he was a child prodigy.  In a brilliant dramatic stroke, Kunze and Levay place a young boy alongside Wolfgang on the stage, and this figure haunts him throughout the action.  At first, this phantom is a comfort to Wolfgang, but gradually it turns into a demon.

The boy is intended to be the embodiment of Wolfgang’s genius, and it sets down on paper the musical ideas that issue from Wolfgang’s head.  But for me, this child represents something more as well – it serves as a constant reminder of the promise of Wolfgang’s youth, a reminder of what his father once expected of him, and of what now can never be.  No matter how great your achievements, there can still be a powerful sense of failure, and of loss.  This idealised image of a “porcelain child” may be a fantasy, but Wolfgang still struggles to break free from his past self, and embrace the reality of who he has become.

For me, the absolute centre of the show is the climactic conflict between the generations, when, after conducting a concert of his own music, Wolfgang is reunited with his father.  (This event didn’t happen historically, but it makes for great theatre.)  By this point in our staging, Wolfgang’s appearance has transformed, Bowie-like, and he has become a successful independent artist.  But he is still being shadowed by the figure of that dutiful boy.

All Wolfgang wants is for his father to be proud of him, for his father to acknowledge his success.  But Wolfgang completely misjudges how to approach this situation.  Our production sets the scene in a “backstage” dressing room.  After dismissing his groupies, Wolfgang slouches arrogantly in a chair, pours himself some booze and challenges his father with the level of his success.  Leopold had always warned Wolfgang not to leave steady employment in Salzburg; but Wolfgang risked it nonetheless, and now he seems to be reaping the rewards.  (“Dear Father, just listen to how they are calling after me.  I am an artist without a position and I am celebrated like a prince.”)  When Leopold retorts angrily, and accuses him of betraying his family, Wolfgang grabs his father in fury, almost pulling him off his feet, but then Wolfgang falls to his knees, begging for approval.  Leopold doesn’t give his son such satisfaction.  The two Mozarts never meet again.

Korean society revolves around deference to age and seniority, as it has done for centuries.  So these aspects of Mozart resonate all the more strongly in Seoul.  When this sequence was filmed in our rehearsal room as part of a press call, one journalist published the clip under the title “Immoral Mozart”.  I was warned that a Korean audience might deem Wolfgang’s grabbing of his father too disrespectful.  This wasn’t the first time that I have needed to consider Korean interpretations of Western behaviour.  What was fascinating to me, however, was that, to make the scene acceptable, the only change that was needed was for Wolfgang to place his hands a little lower when taking hold of his father.   Someone from another country might not have noticed this slight shift (especially in a venue holding more than 3,000 seats), but for the Koreans this alteration appeared to be significant.   When differences between cultures can be this subtle, I am reminded of how much more there still is to learn.