[뮤지컬 시카고] We Both Reached For the Gun - 민경아, 최재림

마이클리 ′대성당들의 시대′

데스노트_홍광호 - 데스노트 M/V(Hurricane)

유튜브로 맨날 듣다가 화나서 내가 올림

죽음의 게임 - 고은성, 이호광

뮤지컬 모차르트!  황금별 - 김소현

[뮤지컬 영웅] 게이샤

레베카 - 이지혜, 옥주현

[킹키부츠] 쥐롤라 - Land of Lola

게이샤 (뮤지컬 영웅)

Music : Frank Wildhorn 
ENGLISH TRANSLATION--------------
I can't believe it, am I dreaming
I've really killed with my own hands
I can't believe it, am I dreaming
This ominous notebook must be burned
But  the world should be purged of it's scum someday

It's strange how the world shines more brightly
The streets are filled with smiles
What if this notebook has the power to save the world

This is not a dream, I must believe it now
The scum of this world need to go
This is not a dream, this hellish world
Can be overturned, it's judgement day
Captured souls may scream and shout
But I will not back down

I am resolved to sacrifice myself
I will create a just world
With my own hands until the end
Sidestep the little pains
Only I can see this through
The sword of justice is in my hands
Shall I shape the world after my will

I am resolved to sacrifice myself
I will create a just world
With my own hands until the end
For a just world and people
I will not leave this rotten world as is
Only I can see it through
I shall be the god of the new world

뮤지컬 데스노트 홍광호 Musical 'Death Note - Death Note' (Korean ver) By Kwang-Ho Hong

Told by the Oracle of Delphi • Folk-Rock Opera • Volant Records

A timeless Oracle steps from the smoke of her sacred chamber and opens a vision to those gathered before her—no royal court, no battlefield, but a circle of listeners gripped by her voice. Across the span of twenty songs, she carries them through the life of Alexander the Great, not as a list of deeds, but as a living journey she witnessed in the currents of fate.

She begins in Macedonia, where ambition is born in the shadow of kings and in the fierce devotion of mothers and teachers. She sings of a youth who burns toward destiny, shaped by the tensions of a fractured court and the sudden violence that thrusts him onto the throne.

The Oracle follows him across continents as his armies surge through Asia. Victories rise like pillars of fire—Granicus, Issus, Gaugamela—each a turning in the wheel of fortune. But with every triumph, she unveils the growing weight on his spirit: the unease of his commanders, the strain between old tradition and new vision, and the fragile dreams he tries to forge into a single, unified world.

Her voice darkens as she reaches the cost of glory—betrayals whispered in tents, rebellions coiled in silence, and the shattering grief of losing the companion who steadied his heart. The paths ahead narrow as his empire widens, until even the Oracle’s tone trembles with what she knows must come.

At last, she carries her listeners to Babylon, where the conqueror returns diminished, circled by shadows and sickness. She sings of a man who shaped nations yet could not halt the slow unraveling of mortality. In her final vision, she reveals that every empire—no matter how vast—fades to memory, and only the stories endure.

As her last note falls, the temple grows still. Smoke drifts upward. The vision closes. And the Oracle leaves her audience with a single truth: greatness reshapes the world, but time reshapes greatness.