Bill Cunliffe jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director
Rodolfo Zuñiga* jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director
PIANO, ORGAN, PIANO PEDAGOGY
Bill Cunliffe jazz piano
Alison Edwards* piano, piano pedagogy, class piano
Dr. Robert Watson piano
MUSIC EDUCATION, TEACHER TRAINING, AND TEACHING CREDENTIAL
Dr. Christopher Peterson choral
Dr. Gregory X. Whitmore* instrumental
MUSIC IN GENERAL EDUCATION
Dr. John Koegel*
Dr. Katherine Reed
MUSIC HISTORY AND LITERATURE
Dr. Vivianne Asturizaga musicology
Dr. John Koegel* musicology
Dr. Katherine Reed musicology
STRINGS
Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor
Bongshin Ko cello
Dr. Ernest Salem* violin
THEORY AND COMPOSITION
Dr. Hesam Abedini composition, theory
Dr. Pamela Madsen composition, theory
Dr. Ken Walicki* composition, theory
VOCAL, CHORAL, AND OPERA
Dr. Robert Istad* Director of Choral Studies and University Singers conductor
Dr. Kerry Jennings* Director of Opera
Dr. Christopher Peterson CSUF Concert Choir and Singing Titans conductor
Dr. Joni Y. Prado* voice, academic voice courses
Dr. Bri’Ann Wright general education
WOODWINDS, BRASS, AND PERCUSSION
Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis* flute
Sycil Mathai* trumpet
Dr. Gregory X. Whitmore
University Symphonic Winds conductor
Michael Yoshimi* clarinet
STAFF
Michael August Production Manager
Eric Dries Music Librarian
Gretchen Estes-Parker Office Coordinator
Will Lemley Audio Technician
Jeff Lewis Audio Engineer
Chris Searight Musical Instrument Services
Paul Shirts Administrative Assistant
Elizabeth Williams Business Manager
* Denotes area coordinator
Welcome to the Fall 2025 performing and visual arts season at Cal State Fullerton’s College of the Arts. Each new semester, our campus comes to life with the energy and creativity of thousands of arts students eager to share their unique visions. Whether you’re returning to our venues or here for the first time, we are so excited to present another season to you. Thank you for joining us.
On October 12, the School of Music presents the interdisciplinary performance “Shakespeare in Sound,” featuring the University Symphonic Winds along with vocal and theatre students. Later in the semester, “Here’s Johnny!: Celebrating 100 Years of Johnny Carson” swings its way onto the stage with a program of jazzy favorites on November 16. More toe tapping is in order when the Department of Theatre and Dance presents their fall musical “9 to 5,” based on the hit 1980 film and featuring the music of Dolly Parton. To close the season, “Fall Dance Theatre: Tethered” returns to the Hallberg Theatre with a fully interactive stage set for our dancers and choreographers to explore.
If you haven’t yet visited the College of the Arts Galleries, join us for the October 4 opening reception for the exhibitions Soo Kim: “(Charlie sings in the quietest voice)” and Carol Caroompas: “Mystical Unions.” Kim is known for her intricately cut and layered photographic work while trailblazing alumna Caroompas is widely recognized for her layered visual narratives. Don’t forget to stop by our student galleries while you’re there!
There are so many exhibitions, concerts, and performances to experience across the college this season, but they wouldn’t be possible without you – our extended Titan community. In every class, every rehearsal and with every hour spent in the studio, our students are pushing creative boundaries, but they need your support to thrive. The Dean’s Fund for Excellence provides arts students with necessary funds for scholarships, off-campus opportunities, and so much more. Help transform their potential into possibility by making a gift of any amount to the Dean’s Fund for Excellence today.
Thank you for joining us for this performance. Our students are ready to make the Fall 2025 season unforgettable, and we are so proud to share their artistry with you.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
PROGRAM
España - Rapsodie pour Orchestre Emmanuel Chabrier (1841-1894)
Danse Bacchanale ...............................................................Camille Saint-Saëns (from Samson et Dalila, op. 47, R 288) (1835-1921)
PROGRAM NOTES
España - Rapsodie pour Orchestre EMMANUEL CHABRIER
Emmanuel Chabrier was a French composer who spent 18 years as a public servant before dedicating himself fully to music. Inspired by Wagner’s Tristan and Isolde, he left his government job and published his popular Spanish-themed rhapsody, España, in 1883. The piece is known for its vibrant melodies and energetic percussion, capturing the spirit of Spanish culture and dance.
Symphony No. 1 in C Major, op. 21
LUDWIG VAN BEETHOVEN
When Beethoven began work on his first symphony he had been a resident of Vienna for seven years, and was enjoying a growing reputation as a composer. He had already composed the first ten sonatas for piano, including the Pathétique. Other important completed works were the first two piano concertos and some of the op. 18 string quartets. His instrumental ensemble works included the wind Octet in Eb and the Septet in Eb for winds and strings, but no symphonies. Haydn had returned in triumph from London in 1795 from his second trip to that city, flush with the success of his second set of six symphonies of the “London” symphonies. Collectively these twelve symphonies by Haydn constitute the last word in defining classical style in the genre (Mozart had died four years earlier). These masterpieces evidently stimulated Beethoven to work on his own first essay in the genre, but after much work, it was abandoned. It took three years, but Beethoven finally decided to begin anew, starting
work in a new and different effort in 1799. It was completed in 1800, and given its première in April of that year. Beethoven was an artist who stood astride the transition from the classic to the romantic period, and it is understandable that his first attempts would be somewhat derivative. And this symphony is clearly the successor to the model of Haydn. The great scholar, Donald Tovey, characterized Beethoven’s first essay in the genre as a “farewell to the eighteenth century.” That, it clearly is, for although it certainly bears the mark of Beethoven, it has little of the monumentality first heard in the third symphony, for example. It is a light-hearted work, and carries some subtle examples of Beethoven’s sense of humor. On the other hand, although Haydn may have been peering over Beethoven’s shoulder, Beethoven pushed ahead in his progressive traits. His harmonic adventuresomeness is present from the very first chord, and is salted throughout the work. The scoring for winds is so pervasive—a trait that became much more common later—that an early critic complained that the symphony sounded more like band music than orchestral. Beethoven’s well-known proclivity for really “working through” his material is right here. In many ways the mature Beethoven lurks beneath the surface of this first symphony in its subtle details, notwithstanding its general similarity to the style of the two earlier giants of the period.
There’s been a lot of spilt ink over the startling first few chords of the slow introduction to the first movement. All that really matters is that Beethoven delighted in starting the
PROGRAM NOTES
work with a short little deception as to the real key, and it should delight us, as well. The mood is eloquent, noble—all the things that we hear right through the last symphony. The faster, main movement soon starts with a bustling simple motif, soon followed by the woodwinds taking the second theme, a smooth descending idea. This is a short exposition, and an important bass line under the oboe soon heralds its end. After the repeat, Beethoven does what he does so well, working creatively with these three ideas, but this too, doesn’t last long, and a recap with a significant coda (another solid characteristic of the Beethoven to come) tops it off.
The second movement “walks” along graciously with a rather coy theme—beginning somewhat like a little fugue—that is soon followed by another one. Light timpani strokes take us to the end of the section. After the repeat, Beethoven briefly explores a few darker moments in a throbbing rhythm, and then we’re back home with the opening material, suitably varied with moving accompaniment. After recapitulating the ground of the opening section, the movement—featuring the winds–gradually fades away in the best Beethoven manner.
Remember, Haydn was still alive and kicking at this time, so the third movement, Beethoven calls a “minuet,” in the traditional way. But, it really is a quite vibrant scherzo in the manner for which the composer soon began famous—some may even hear intimations of the scherzo of Symphony No. 3, “Eroica” here. The short first section, ends with some of the composer’s well-known rhythmic
displacements that add to the drive forward. The middle section—always a nice contrast—traditionally features the winds, and they glide along smoothly, with rippling strings beneath. This too, doesn’t last long, and a repeat of the first section ensues.
The beginning of the last movement is nothing if not wry. A loud chord is followed by three soft little notes, which grow into a lengthening scale with each repetition. After seven bars of this quiet teasing, the scale zips up into the main theme, a simple little idea. As a matter of fact, the whole movement is built around easy to recognize short ideas, all crafted into a unified whole that reminds us again of the craftsmanship of a composer who was a master of “economy of means.” Beethoven always averred that he didn’t learn anything from the few composition lessons that he had from Haydn. That may be, but it is manifestly clear that the younger man had listened and learned enormously from the music of his elder in this charming, vivacious romp of a last movement.
Even a cursory review of the lives of most of the significant composers of the nineteenth century–from Berlioz to Verdi–shows them to have been fascinated with the timeless art of Shakespeare. In fact, it is a major trait of Romanticism as an intellectual movement to have plumbed the depths of his work for archetypes of
PROGRAM NOTES
the human condition. And it is telling that generations of young composers took personal initiative to school themselves so. Tchaikovsky is representative, and his concert overture, Romeo and Juliet, is typical of the many compositions of the times that drew inspiration from the playwright.
Composed just as Tchaikovsky turned twenty-nine years old, it’s a relatively early work. The composer had composed his first programmatic work, Fatom (fate)—he soon tore up the original score—only the year before, and the first version of his first symphony three years previous. So, almost all of the orchestral music that has established his durable popularity was yet to come. In fact, his beloved fifth and sixth symphonies, as well as The Nutcracker, lay roughly two decades in the future. But, withal, this work has taken its place with the masterpieces of his maturity. That being said, Romeo and Juliet did not take that place without a somewhat checkered history.
Three versions of it evolved, as the composer labored to create the successful, final iteration. The première (1870) of his first take was not successful at all, owing to numerous technical and conceptual problems, and Tchaikovsky made extensive changes, most of which are in the final version. Finally, about ten years later, the composer made a few more changes, and that is the version we all hear, today. All throughout the initial composition of Romeo and Juliet Tchaikovsky was guided in great detail by Mily Balakirev, the informal leader of the famed group of Russian nationalistic composers known as the “mighty handful,” the
others being Cui, Borodin, Mussorgsky and Rimsky-Korsakov. Located in St. Petersburg, they were self-taught followers of Glinka, and sought to establish a Russian school of musical style. Balakirev and Tchaikovsky (by then, living in Moscow) had established an informal relationship earlier, and Romeo and Juliet was the result of a kind of collaboration between the two men. Balakirev had suggested the subject matter, and even the rough sonata form, which associated the introduction with Friar Laurence, the first theme with the conflict between the Capulets and the Montagues, and the second theme with the lovers. Balakirev made significant suggestions for revisions to the composition, and evidently Tchaikovsky took several of them to heart–even dedicating the work to him. On the other hand, most scholars seem to agree that the result is still totally Tchaikovsky’s composition, and that Balakirev cannot legitimately be considered the younger man’s mentor.
The “Friar Laurence” introduction is a solemn evocation of the church through skillful writing for low woodwinds that masterfully imitates a small reed organ. Little by little Tchaikovsky draws the ominous mood out, teasing us with intimations of the conflict to come, in the manner with which so much of the drama in his later ballets is spun out. Eventually, the main theme explodes as the Capulets and the Montagues battle, and, after a bit of teasing, the familiar “love theme” is heard, colored poignantly by the English horn. Now, that all three protagonists have been introduced, Tchaikovsky builds the conflict with a vengeful return to the battle, replete
PROGRAM NOTES
with palpable swordplay from the percussion section. You’ll find the same pictorial talent displayed years later in the attack of the mice in the Nutcracker. But, love triumphs—if only for a bit—and the theme of the lovers soars out in the quintessential orchestration so familiar from a thousand cultural uses: lush strings and “heart-throbbing” horns. Conflict resumes, this time with sinister bits of Friar Laurence’s theme, and finally the death of the star-crossed lovers is clear. The timpani taps out a dirge as an epilogue, with an intimation of the pair’s transfiguration in the rest of the orchestra. Dramatic orchestral hammer-strokes seal their fate and conclude the tragedy.
Danse Bacchanale (from Samson et Dalila), op. 47, R 288 CAMILLE SAINT-SAËNS
Saint-Saëns worked on this opera for about ten years before its opening in Weimar, Germany in 1877. The pious French authorities would not permit a story from the bible on the operatic stage—nor would the English censors until 1909. The Bacchanale occurs at the very end of the opera, after all of the events of the familiar story of Samson that we know from the Book of Judges has transpired. Blind and shackled, Samson awaits his fate, as the priests and priestesses of the Philistine pagan god dance their wild and uninhibited song of victory. Well, their victory is short lived, for we all know what Samson does at the end.
–Wm. E. Runyan
William E. Runyan
UNIVERSITY SYMPHONY ORCHESTRA
Violin
Maxwell Avalos
Charlotte Bouck
Miriam Ibanez
Samuel Kim
Alicia Kuch
Regan Lambert
Jordan Nava
Tan Phuoc Ngo
Daniel Noh
Soo Hyun Park+
Megan Pollon
Aaron Tam
Joshua Teng
Hannah Thai
Margaret Wu*
Viola
Ethan Gathe+
John Harris
Ty Kanauchi
Jacob Mladineo
Sungjin Park
Dani Tam
Cello
Rebecca Chiu
Connor Dicamillo
Brooke Giammanco
Chani Greaves
Benjamin Her+
Jennifer Lee
Edward Montalvo
Lynnette Silva
Julian Van Aalst
Xiyan Yu
Bass
Andrew DeStackelberg+
Michael Selfridge
Harp
Stephanie Iorga
Piccolo
Daniella Arditti
Crystal Lee
Flute
Daniella Arditti+
Rogelio Justo+
Crystal Lee+
Oboe
America Dionati
Stephanie Marquez
Lilith Wathan+
English Horn
America Dionati
Clarinet
Humberto Bravo+
Oren Dror+
Jonathan Recomanta+
Jesus Santiago
Christian Solis+
Bass Clarinet
Jesus Santiago
Bassoon
Nayalin Guzman+
Rekha Michael+
Adrian Wu
Contrabassoon
Adrian Wu
Horn
River Ballantyne
Diego Campos+
Andrew French+
Adam Sevilla
Trumpet
Trevor Cannon+
Isaac Montaño+
Alex Santiago+
Rudy Xool+
Coronet
Trevor Cannon
Isaac Montaño
Alex Santiago
Trombone
Paul De La Rosa
Nathanael Peters+
Samuel Song
Tuba
Zachary Arnold+
Percussion
Cameron Abrahamson
Peyton Johnson
Ziyania Monroe
Galadriel Pokracki
John Sunderman+
+Principal/Co-Principal
*Concertmaster
Kimo Furumoto
Kimo Furumoto is the Orchestra Director at California State University, Fullerton. He is also Music Director and Conductor of the Huntington Symphony Orchestra (West Virginia) as well as the Whittier Regional Symphony. His guest conducting appearances have taken him throughout the United States and Europe with many stellar orchestras.
Previous positions include music director of the Concert Orchestra at the University of Cincinnati, College Conservatory of Music, conducting assistant with the Cincinnati Symphony Orchestra, and assistant conductor of the Cincinnati Chamber Orchestra. He has worked with noted conductors such as Leonard Bernstein and Robert Shaw.
Furumoto holds degrees in conducting from Chapman University and the University of Cincinnati, College Conservatory of Music. His ballet “The Mandarin Ducks” has been enthusiastically received by audiences.
$500,000 +
Mrs. Junko Klaus
$100,000-$499,999
Johnny Carson Foundation
$50,000-$99,999
CSU Northridge Foundation
Leo Freedman Foundation
Ms. Susan Hallman in Memory of Ernie Sweet ‘77
Mr. Matthew Scarpino & Ms. Karyn Hayter
Mr. Steve & Mrs. Robin Kalota
Dr. Sallie Mitchell*
Dr. Tedrow & Mrs. Susan Perkins
Mrs. Louise Shamblen
$25,000 - $49,999
Mr. Darryl Curran
Mrs. Lee C. Begovich
Mrs. Marilyn Carlson
Ms. Mary A. and Mr. Phil Lyons
Mr. Bob & Mrs. Terri Niccum
Mr. Ernest & Mrs. Donna Schroeder
Dr. Ed & Mrs. Sue Sullivan
$10,000-$24,999
Dr. Joseph & Dr. Voiza Arnold
Mr. John Aimé & Ms. Robin de la Llata Aimé
Dr. Marc Dickey
Mrs. Evelyn Francuz
Mr. Edward & Mrs. MaryLouise Hlavac
Ms. Kathleen Hougesen
Ms. Kathy Mangum
Mr. James & Mrs. Eleanore Monroe
Mrs. Norma Morris
Mr. John Brennan & Ms. Lucina Moses
$5,000-$9,999
Mr. Nick & Mrs. Dottie Batinich
Continuing Life LLC
Ms. Harriet Cornyn
Mr. William S. Cornyn
Dedicated 2 Learning
Mr. Richard & Mrs. Susan Dolnick
Ebell Club of Fullerton
Friends of Jazz, Inc.
Dr. Margaret Gordon
DONOR APPLAUSE
Mr. Norm & Mrs. SandyJohnson
Ms. Teri Kennady
Mrs. Jill Kurti Norman
Morningside of Fullerton
Mrs. Bettina Murphy
Mr. David Navarro
Dwight Richard Odle Foundation
Dr. Stephen Rochford, DMA
Southern California Arts Council
Swinerton Builders
Mr. Framroze & Mrs. Julie Virjee
$1,000-$4,999
Mr. John A. Alexander & Mr. Jason Francisco
Mrs. Judy Atwell
Mrs. Lois Austin
Mr. Tod Beckett-Frank
Ms. Karen Bell
Mr. John &
Ms. Shanon M. Fitzpatrick
Dr. Keith & Mrs. Renae Boyum
Mr. Allan & Mrs. Janet Bridgford
Mrs. Marion Brockett
Mr. James & Mrs. Diane Case
Mr. Stephen Collier & Ms. Joann Driggers
Mr. William H. Cunliffe, Jr.
D Barry Schmitt Trust
Ms. Jeannie Denholm
Mr. Gordon & Mrs. Lorra Dickinson
Mr. Kenneth & Mrs. Stacey Duran
Mr. Greg & Mrs. Shawna Ellis
Ms. Judi Elterman
Dr. Anne Fingal
Fullerton Families & Friends Foundation
The Jane Deming Fund
Mrs. Marsha Gallavan
Mrs. Terie Garrabrant
Dr. Leon & Mrs. Annette Gilbert
Mrs. Janet M. Green
Mr. James Henriques
Mr. David &
Mrs. Margret Hoonsbeen
Mr. Mike Ibanez
Mr. Darren &
Mrs. Tatyana Jones
Ms. Michelle H. Jordan
Ms. Gladys Kares
Ronald L. Katz
*deceased
Very special care has been given to the prepartion of this donor list. For questions or concerns, please contact: Ann Steichen | 657-278-3347
Family Foundation
Mr. Raymond & Mrs. Masako Kawase
Mr. Jeffrey & Mrs. Gayle Kenan
Dr. Kristin Kleinjans & Mr. Anthony Dukes
Mrs. Shirley Laroff
Mr. Lynn & Mrs. Susan Lasswell
Mrs. Marilyn Little
Mr. Juan Lopez
Mr. Paul Coluzzi & Mr. John Martelli
Dr. George& Mrs. Karen Mast
Mrs. Thelma Mellott
Mr. Michael & Mrs. Mary Miguel
Mr. Carl Mrs. Patricia Miller
Stifel Nicolaus
Mr. Ujinobu & Mrs. Yoshino Niwa
Mr. Colin Connor & Ms. Debra Noble
Dr. Arie & Mrs. Deanna Passchier
Mr. Jarrold Petraborg
Mr. John Phelps & Mrs. Kerry Laver-Phelps
Mr. Jim Plamondon
Mr. E. B. & Mrs. Linda Powell
Mr. Robert Rennie & Mrs. Nancy Rennie
Ms. Christine Rhoades
Ms. Mary Rupp
Mr. Thaddeus & Mrs. Eleanor Sandford
Mrs. Rita Sardou
Mr. D. Schmitt
Mrs. Martha Shaver
Mrs. Ingrid R. Shutkin
Ms. Barbara Kerth & Ms. Lorena Sikorski
Ms. Janet Smith
South Coast Repertory
Ms. Ann Sparks
Mr. Robert & Mrs. Roberta Sperry
Mr. Douglas Stewart
Mr. Tom & Mrs. Carolyn Toby
Liqi Tong
Viet Tide
Ms. Verne Wagner
Dr. Sean & Dr. Tina L. Walker
Dr. Robert & Mrs. Teri Watson
Dr. Wayne & Dr. Ruth Zemke
Gifts received from July 1, 2023 to December 31, 2024
ONTIVEROS SOCIETY
The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. We extend our deep appreciation to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts:
ANONYMOUS
JOHN ALEXANDER
LEE & DR. NICHOLAS A.* BEGOVICH
GAIL & MICHAEL COCHRAN
MARC R. DICKEY
JOANN DRIGGERS
BETTY EVERETT
CAROL J. GEISBAUER
& JOHN* GEISBAUER
SOPHIA & CHARLES GRAY
MARYLOUISE & ED HLAVAC
GRETCHEN KANNE
DR. BURTON L. KARSON
ANNE L. KRUZIC*
LOREEN & JOHN LOFTUS
ALAN A. MANNASON*
WILLIAM J. MCGARVEY*
DR. SALLIE MITCHELL*
ELEANORE P. & JAMES L. MONROE
LYNN & ROBERT MYERS
MR. BOB & MRS. TERRI NICCUM
DWIGHT RICHARD ODLE*
SHERRY & DR. GORDON PAINE
*deceased
DR. JUNE POLLAK
& MR. GEORGE POLLAK*
DR. STEPHEN M. ROCHFORD
MR. STAN MARK RYAN ‘75
MARY K. & WILLIAM SAMPSON
LORENA SIKORSKI
DOUGLAS G. STEWART
ANDREA J. & JEFFREY E. SWARD
RICHARD J. TAYLOR
VERNE WAGNER
RICHARD WULFF
DR. JAMES D. & DOTTIE YOUNG*
The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER SUPPORT GROUPS
ALLIANCE FOR THE PERFORMING ARTS: The Alliance for the Performing Arts (formerly MAMM) benefits performing arts students through underwriting visiting artists; special theatre, dance, and music performances; and other unique experiences for members.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Judy Atwell
Drs. Voiza & Joe Arnold
Dr. Margaret Faulwell Gordon
Susan Hallman
Norma Morris Richard Odle Estate
Kerry & John Phelps
Jeanie Stockwell Verne Wagner
ART ALLIANCE: Art Alliance promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Fay Colmar
John DeLoof
Joann Driggers & Steve Collier
Loraine Walkington
MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Marilyn Carlson
Evelyn K. Francuz
Sandy & Norm Johnson
Marti & Bill Kurschat
Karen & George Mast
Thelma & Earl Mellott
Bettina Murphy
Grace & Ujinobu Niwa
Kerry & John Phelps
Mary & Jerry Reinhart
Ann & Thad Sandford
Dodo V. Standring
Carolyn & Tom Toby
John Van Wey
MORE INFORMATION: Haley Sanford • 657-278-2663
There are many ways to support the College of the Arts, the School of Music, Department of Theatre and Dance, and Department of Visual Arts
shape the future of the arts
The College of the Arts at Cal State Fullerton is one of the largest comprehensive arts campuses in the CSU system. We proudly serve as an academic institution of regional focus with national impact that combines rigorous arts training with cross-disciplinary exploration to encourage the artistic expression and individual achievement of thousands of arts students daily.
Many of these students face personal and financial challenges that prevent them from continuing their education. You can help! The Dean’s Fund for Excellence provides students in need with funding for immersive, off- and on-campus experiences that contribute to their academic success, including CSU Summer Arts, conferences, and study abroad programs.
Shape the future of the arts!
Consider making a gift of any amount to the Dean’s Fund for Excellence today.
COLLEGE OF THE ARTS • SELECT EVENTS | FALL 2025
*Molly Pease, mezzo-soprano, with David Bergstedt, piano
September 19 • Meng Concert Hall
33rd Annual Fall Choral Festival
September 27 • Meng Concert Hall
Simon Shiao, violin
October 2 • Meng Concert Hall
Soo Kim: (Charlie sings in the quietest voice) and Carole Caroompas: Mystical Unions
October 4, 2025 – May 17, 2026
College of the Arts Galleries
University Symphony Orchestra
October 4 • Meng Concert Hall
University Wind Symphony & Alumni Band: Alchemy of Sound
October 5 • Meng Concert Hall
Caroline Chin, violin
October 9 • Meng Concert Hall
Men on Boats
October 9–18 • Hallberg Theatre
9 to 5: The Musical
October 23–November 1 • Little Theatre
Shakespeare in Sound feat. the University Symphonic Winds
October 12 • Meng Concert Hall
University Singers and Concert Choir
October 19 • Meng Concert Hall
Fullerton Jazz Orchestra and Fullerton Jazz Chamber Ensemble
October 24 • Meng Concert Hall
Dr. Garik Pedersen, piano
October 25 • Meng Concert Hall
Ernest Salem, violin & Alison Edwards, piano
October 26 • Meng Concert Hall
Irina Kulikova, guitar
November 4 • Meng Concert Hall
The House of the Spirits
November 6–15 • Young Theatre
Mackenzie Melemed, piano
November 9 • Meng Concert Hall
Opera Scenes
November 14–16 • Recital Hall
Fullerton Pops Here’s Johnny: A Tribute to Johnny Carson feat. University Symphony Orchestra and Fullerton Jazz Orchestra
November 16 • Meng Concert Hall
Jazz Singers
November 19 • Meng Concert Hall
University Symphonic Winds
November 21 • Meng Concert Hall
Fall Dance Theatre: “Tethered”
December 4–13 • Hallberg Theatre
Fullerton Jazz Orchestra
December 5 • Meng Concert Hall
University Wind Symphony
December 7 • Meng Concert Hall
Titan Voices and Singing Titans
December 8 • Meng Concert Hall
Fullerton Jazz Chamber Ensemble and Fullerton Latin Ensemble
