General Director : InHee Kim / Artistic Director : James Jeon
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The Marriage of Figaro
Photo : KwangJin Jung

Celebrating 250 Years Since the Birth of Mozart

Sweet Temptation: The Marriage of Figaro

1. Reviving Mozart's Genius

With his new choreography, James Jeon explores a new angle of Mozarts 250 year legacy. Jeon's Marriage of Figaro will give Mozart's characters a fresh comic twist.

2. New Full-Scale Production in 3 Years
James Jeon followed his success with the rock ballet Being I, II, III, with Snow White in 2003. Receiving encouragement from audience who saw Snow White, Jeon has decided to mount a new production this year, 2006, and he is currently in the midst of choreographing Marriage of Figaro. The first time ballet staging of the story in Korea, the production will maintain the original story line, while the scenery and movement style are given a contemporary treatment, giving the work a fresh dramatic effect.

3. Brilliant Colors Surpassing Your Imagination
Against an abstract and minimalist stage background, the costumes will present the brilliant colors and unique style. Complimenting the gestures and actions of the dancers, the costumes enhance and deepen the dramatic effects of the production.

Production : Marriage of Figaro
Performance Dates : Friday, Sept. 8, Saturday, Sept 9, 2006
Venue : Chungmu Art Hall
Choreographer : James Jeon

Presented by : Seoul Ballet Theatre
Sponsor s: Seoul Metropolitan Government, Arts Council Korea, Seoul Cultural Foundation,
                 Jung-gu Cultural Foundation
Tickets on sale a t: Ticket Link: 1588-2637/
                               Interpark: 1544-1555

Ticket Prices : Vip 70,000 won / R 50,000 won / S 30,000 won / A 20,000 won

Further Information: Seoul Ballet Theater 3442-2637/ Chungmu Art Hall 2230-6600

Choreographer's Vision

2006 is the 250th anniversary of Mozart's birth. As a homage to Mozart's work I decided to commemorate the anniversary by creating a ballet production of his opera The Marriage of Figaro.

Mozart wrote The Marriage of Figaro in 1786 when he was in his age 30, and it has proved to be one of his most successful works.

I have maintained the composition of the story and all the central characters, transporting them to the present time. By using the vocabulary of movement with I have created a new dimension to the work, comic elements

Also, I will work with the performing dancers to make the story come alive for the audiences, exploiting the possibilities of not only the dance movements, but also the acting elements of the staging.

The stage sets will be functioned to they provide all the necessary background for the action, they can be easily moved by the dancers.

Focus on the Production

Culmination of James Jeon's Career to Date
Mozart's Marriage of Figaro is his most praised and celebrated work. The work holds great possibilities for James Jeon's freestyle and conceptual choreographic treatment. As such there is every reason to anticipate that he will come up with another landmark work with the premiere Korea's first ballet treatment of Marriage of Figaro.

Mozart's Counterpoint will Ignite the Passion of the Audience
Just as Mozart's counterpoint is brilliant beyond measure, with its clear and succinct expression of the characters, delighting the audience with its musical genius, the interweaving of the dancing as it follows Mozart's counterpoint will kindle a fire of enthusiasim and delight in the Chungmu Art Hall audiences way beyond their expectations.

Two hours of Expectation and Excitement
Two hours, each character with his own unique movements, with the grand and realistic dances by the corps de ballet, James Jeon's choreography weaves a fine web of contemporary emotions and refined, polished movements. This, combined with the precisely synchronized movements of the set, lends the atmosphere of a top class magic show, which, combined with the splendor and dramatic elements of the performance will keep the audience full of wonder and expectation with each passing change of scene.

Costumes you Want to See up Close
These creative and unique creations add an extra dimension of perfection to the production.

Lead Characters
Wolfgang Amadeus Mozart
Leopold Mozart : Mozart's father
Constanza : Mozart's wife
Count Almaviva : a Count, of the old spanish nobility
Countess Rosina : Wife of Almaviva
Figaro : Valet to Almaviva
Susanna : Figaro's fianc?e, Rosina's maid
Bartolo : a physician, Rosina's father, unknowingly the father of Figaro
Basillio : Music Master to the Countess
Cherubino : Page to the Count, godson to the Countess
Antonio : Head Gardener, Susanna's Uncle
Don Curzio : a Judge
Marcellina : Head Housekeeper, an old maid
Barbarina : daughter of Antonio
Maids and young men from the village


Act I, scene 1. Late 18th century, on the outskirts of Seville.
Today is the day Figaro and Susanna will marry. The two of them are busily making preparations in the room Count Almaviva has given them. Susanna is worried because the room is too close to Almaviva's own chambers, and she tells Figaro they must be careful. She know that the Count plans to resurrect an old feudal law that permits him to sleep with Susanna, who is part of his household staff, on her wedding night before her husband can sleep with her. This angers Figaro, who declares that he will seek vengeance.

Dr. Bartolo arrives with his housekeeper Marcellina. Marcellina has an old agreement with Figaro that if he does not repay the money he has borrowed from her, he must marry her. Marcellina is planning to use this promise to stop Figaro's wedding.

Bartolo departs and Marcellina and Susanna quarrel. A short while later Cherubino, Almaviva's page, who is in love with all the ladies, arrives. At the arrival of the Count, Cherubino hides behind a chair. The Count is looking for Cherubino to punish him, having caught him the previous day in amorous conversation with the gardener's daughter, Barbarina. Not realizing Cherubino is in the room, the Count approaches Susanna. Just as the Count is about to take Susanna in an amorous embrace, the Countess' music teacher, Basilio, arrives. Not wanting to be found alone with Susanna, the Count decides to hide behind a hanger. Cherubino slips out just in time to avoid being spotted by the count, jumps up onto the chair, where Susanne hides him under a dress.

Basilio begins to gossip to Susanna about Cherubino's affections for the Countess. This angers the Count, who jumps out from behind the chair. Count Almaviva's anger increases when he realizes Cherubino is also in the room. But he cannot express his rage, since Cherubino has witnesses his earlier advances on Susanna. Just then, Figaro arrives with the villagers, seeking to thwart the Count's desires for Susanna.

In order to keep the upper hand, the Count decides to send Cherubino off to the army, and tells him to leave right away. Figaro give Cherubino encouragement on surviving in the army, where there are no ladies.

Scene 2. A bedchamber

The Countess laments her husband's latest infidelity in a beautiful aria. Susanna and Figaro arrive and the three of them exchange suggestions as to how to punish the Count. They make a plan to send the Count a contrived letter about a tryst between the Countess and another man, and while he thinks she is safely out of the way, they will lure the Count into the garden with a fake invitation from Susanna, where the Count will instead meet Cherubino, who will be dressed as Susanna.

Figaro leaves; Cherubino arrives so Susanna can help him dress in woman's clothes. But then the Count knocks at the door. Cherubino hides in the closet, and the Countess invites the Count to come in. In his hand the Count holds the letter he has just received regarding his wife's intended infidelity. He tries to take a look in the closet, but it is locked. The Countess tells him Susanna is inside, but the Count doesn't believe her. The Count leaves, taking the Countess with him, and declaring that he will find a way to open the locked closet. Susanna sneaks back in as they leave, helps Cherubino to escape out a window, and hides in the closet herself.

Returning, the Count and Countess are surprised to find that it is Susanna in the closet. The gardener, Antonio, comes in to complain about a man jumping out of the Countess' window into the garden. Susanna and the Countess don't know what to say. Just in the knick of time, Figaro arrives to announce that preparations for the wedding are ready, and feigning a sprained ankle, says it was he that jumped out the window. Then Dr. Bartolo, Marcellina and Basilio arrive, petitioning the Count to hear their complaint against allowing Figaro's wedding to go on.

Act II, Scene 1. A Trial
At the wedding hall, Susanna re-confirms with the Count their late-night rendezvous in the garden. A short while later Marcellina, Bartolo and Figaro enter, bringing with them Don Curzio, who is dressed in his judicial robes, and a trial begins. The judgment goes against Figaro: he must marry Marcellina. However, Figaro produces evidence that Marcellina is his mother, who has not seen him since birth. As a mother cannot marry her own son, Figaro escapes the judgment. As Marcellina embraces her long lost son, Susanna enters. Unaware of the real relationship between Figaro and Marcellina, she is furious and begins to hit Figaro. Once she hears the whole story, however, she is happy at the reunion.

A little later the Countess and Susanna write a letter to the Count about the garden rendezvous. They fasten the envelope with a pin, which the Count is to return to Susanna if he plans to accept the invitation. During the wedding ceremony, Susanna slips the envelope to the Count. Reading the letter, a smile appears on his face.

Act II, scene 2. The Garden
In the moonlight, Barbarina is looking for a lost pin. The Count had given her the pin from Susanna's secret letter, instructing her to give it to Susanna, but instead she has lost it. Figaro and Marcellina arrive and hear from Barbarina about the secret tryst between Susanna and the Count. Figaro decides to hid and catch the two of them in the act. The Countess, disguised as Susanna, is already waiting in the garden. Cherubino arrives and, thinking it is Susanna, tries to kiss her. The Count arrives and strikes Cherubino. Turning to his wife, whom he thinks is Susanna, he begins to court her. Figaro, listening, decides to court his wife in the same fashion, and whispers in the ear of Susanna, whom he has realized is disguised as the Countess. Susanna, however, believes Figaro to be courting the Countess, becomes angry, and strikes him.

Figaro explains that he has recognized her, and Susanna then cooperates to trap the Count. As the Count approaches the two of them, Figaro once again proclaims his love for the pretend Countess. Angered, the Count calls for people and arms. Bartolo, Antonio, Basilio and others enter, and the Count enters into a tirade on the infidelity of his wife. Just then the Countess, who has been disguised as Susanna for the tryst with the Count, enters the stage laughing. Everyone is surprised, especially the Count, who realizes the error of his ways, kneels in front of the Countess and asks for her forgiveness. She consents and all are contented as the curtain falls.

  Copyright 2006 Seoul Ballet Theatre All rights reserved.