In partnership with the City of Torrance, The Torrance Cultural Arts Foundation’s mission is to enrich the community through the performing arts by providing diverse cultural, educational and entertainment experiences of the highest quality.
OUR VISION
The vision of the Torrance Cultural Arts Foundation is to connect our community through culturally enriching experiences.
THANK YOU TO THE CITY COUNCIL AND CULTURAL ARTS COMMISSION FOR THEIR CONTINUED SUPPORT OF TOCA AND THE ARTS IN THE SOUTH BAY
LAND ACKNOWLEDGEMENT
The Torrance Cultural Arts Foundation would like to acknowledge that the Armstrong Theatre is located on the traditional and ancestral territory of the Tongva people in the Swaanga Village. We ask you to join us in acknowledging the Tongva community, their elders both past and present, as well those of future generations. www.tongvapeople.com
Welcome to Our 2025–2026 Season
Welcome to a brand-new season with the Torrance Cultural Arts Foundation! I’m honored to step into the role of Board President as we continue TOCA’s proud tradition of celebrating the arts in all their beautiful diversity.
For over three decades, TOCA has been a cornerstone of creativity and connection in the South Bay. That legacy continues today because of the passion and dedication of our community—our artists, audiences, partners, donors, and volunteers. Together, we make it possible to bring inspiring, thought-provoking, and joy-filled performances to our stages.
At TOCA, we believe the arts are for everyone. Whether it’s your first time in the theater or you’ve been with us since the beginning, we invite you to explore this season’s lineup and find something that speaks to you. From laugh-out-loud comedy to moving musical performances and cultural celebrations, there’s truly something for every taste.
On behalf of the entire Board of Directors, thank you for your continued support. I hope you’ll consider deepening your connection with TOCA—subscribe to our season, become a donor, or lend your time as a volunteer. However you choose to engage, know that you are a vital part of our mission.
I look forward to seeing you at the theater—and to all the unforgettable moments we’ll share this season.
Warmly,
Camilla Seferian President, Board of Directors
Torrance Cultural Arts Foundation
Welcome to the 2025/2026 season at the Torrance Cultural Arts Foundation!
As we turn the page from our milestone 30th year and look ahead, I’m filled with gratitude—not only for where we’ve been, but for where we’re going. Each season is a new opportunity to bring people together, spark meaningful conversations, and celebrate the incredible power of live performance.
At TOCA, we’re not just curating a season—we’re creating space for discovery, connection, and joy. Whether it’s world-class music, laughout-loud comedy, soul-stirring theater, or family programming that ignites young imaginations, our goal remains the same: to offer something memorable for everyone who walks through our doors.
I continue to be inspired by the artists we work with, the team behind the scenes, and especially you— our audience, donors, and community partners—who make it all possible. Your enthusiasm and support are what keeps TOCA vibrant and thriving.
Please explore this brochure and find the shows that speak to you. And as always, if there’s anything we can do to make your experience better, don’t hesitate to reach out to us at info@TorranceArts.org.
Let’s make this season one to remember. See you at the theatre!
Chris Wolf Executive Director
Assisted listening devices available. Ask the House Manager or usher for assistance.
FOUNDER & EXECUTIVE DIRECTOR
R. Douglas Jacobs
kontrapunktUS
Founded in 2015, KONTRAPUNKTUS has emerged from the Los Angeles and Orange County classical music scene as one of the most promisingly robust chamber orchestras that has won the hearts and minds of audiences over. Featuring some of the finest young musicians the “classical” world has to offer, KONTRAPUNKTUS continues to redefine the conventions of what it means to be a chamber orchestra amid a musical demographic landscape that is getting younger by the day.
MISSION STATEMENT
KONTRAPUNKTUS is dedicated to preserving and advancing the rich tradition of classical music through passionate performances, artistic excellence, and innovative programming. We strive to inspire, educate, and connect audiences of all backgrounds by bringing timeless masterpieces and contemporary works into life. Through collaboration, outreach, and a commitment to musical integrity, we aim to foster a deeper appreciation for classical music and its enduring impact on culture and society.
VISION STATEMENT
To be a leading classical music ensemble that inspires and connects global audiences through exceptional performances, innovative collaborations, and meaningful community engagement. We envision a world where classical music remains vibrant, relevant, and accessible to all, enriching lives across generations.
Luigi Boccherini (1743 – 1805)
Night Music of the Streets of Madrid, Op. 30 No. 6, G. 324
I. The Ave Maria Bell
II. The Soldier’s Drum
III. Minuet of the Blind Beggars
IV. The Rosary
V. Pasacalle
VI. The Drum
VII. Retreat
Joseph Haydn (1732 – 1809)
The Seven Last Words of Our Savior on the Cross, Hob. XX:1B
I. Introduction
II. Earthquake
Mieczysław Weinberg (1919 – 1996)
Concertino for Violin & Strings, Op. 42
I. Allegretto cantabile
II. Cadenza. Lento - Adagio
III. Allegro moderato poco rubato AUBREE OLIVERSON, Violin
INTERMISSION
Gioachino Rossini (1792 – 1868)
String Sonata No. 3 in C Major
I. Allegro
II. Andante
III. Moderato
Joseph Haydn (1732 – 1809)
Symphony No. 13 in D Major, Hob. I:13
I. Adagio cantabile OSHEEN MANUKYAN, Cello
Wolfgang Amadeus Mozart (1756 – 1791)
Divertimento in D Major, K. 136
I. Allegro
II. Andante
III. Presto
THE PROGRAM NOTES
Luigi Boccherini – Night Music of the Streets of Madrid, Op. 30 No. 6
Luigi Boccherini (1743–1805) was born in the Tuscan city of Lucca. Boccherini came from a family of professional musicians and was a virtuoso cellist himself. After establishing himself as a performer and composer in Italy and Austria, he eventually moved to Spain, where he spent the rest of his life in the service of the Spanish royal family.
One of the few overtly programmatic works Boccherini ever wrote, Night Music of the Streets of Madrid offers an evocative window into the soundscape of a summer evening in the city. It was so specific to its Spanish setting that Boccherini feared audiences outside of Spain would not understand it — and so he withheld it from publication during his lifetime. We are lucky that Boccherini provided descriptions for each movement, which serve as both a listener’s guide and a performer’s map to capture the vivid street scenes of the city.
The piece opens with the sounds of the church bell of the city’s main cathedral. Boccherini achieves the resonance of the bell by utilizing the sonorities of open strings, creating a rich resonance in space. The soothing atmosphere is broken by the harsh sound of the military drum, mimicked by the first violin.
Then comes the Minuet of the Blind Beggars, where the violins play a lilting dance tune, while the cellos are instructed in the score to hold their instruments like guitars, imitating street performers. Minuets (or menuets) are elegant couple’s dances of French origin and are called such because traditionally the dancers would take “pas menus” (small steps).
The following movement – The Rosary – is marked senza rigor di battuta (“without strict adherence to the beat”), and this weightlessness and suspension of time imbues the music with a deep sense of reverence and inner stillness. The violin and cello move slowly together, punctuated by occasional bell tones from the second violin and dramatic outbursts from the full ensemble.
After another drumroll from the first violin comes the final movement: The Retreat (or Ritrata), which is a depiction of the city garrison marching away as curfew descends. Boccherini’s own instructions for the finale provide valuable context:
“Father of the Symphony” and the “Father of the String Quartet.” Born in the small Austrian village of Rohrau, Haydn rose from humble origins to become one of the most celebrated musicians of his time.
The Pasacalle was a type of instrumental interlude between songs and dances which originated in 17th century Spain. The term is a combination of two words: to “pass” (or “cross”) and “street.” The movement paints a picture of Los Manolos — flamboyantly dressed street singers known for their loud, extroverted performances. The ensemble plays pizzicato (plucking) over a simple repeated chord progression, and the first cello enters with a cheerful, rustic melody. The second violin quickly barges in, making use of an impressive bariolage technique, rapidly crossing adjacent strings to spell out the harmonies.
“One must imagine sitting next to the window on a summer’s night in a Madrid flat, and that the band can only be heard in the far-off distance in some other part of the city... the music grows louder and louder, indicating the Night Watch are passing directly under the listener’s window. Then gradually the volume decreases and again becomes faint as the band moves down the street into the distance.”
After another drumroll from the first violin comes the final movement: The Retreat (or Ritrata), which is a depiction of the city garrison marching away as curfew descends. Boccherini’s own instructions for the finale provide valuable context:
“One must imagine sitting next to the window on a summer’s night in a Madrid flat, and that the band can only be heard in the far-off distance in some other part of the city... the music grows louder and louder, indicating the Night Watch are passing directly under the listener’s window. Then gradually the volume decreases and again becomes faint as the band moves down the street into the distance.”
Joseph Haydn – Introduction & Earthquake from The Seven Last Words of Our Savior on the Cross, Hob. XX:1B
Joseph Haydn (1732–1809) was one of the most influential composers of the Classical period and is often called the “Father of the Symphony” and the “Father of the String Quartet.” Born in the small Austrian village of Rohrau, Haydn rose from humble origins to become one of the most celebrated musicians of his time.
One of Haydn’s most profound and spiritual works, The Seven Last Words of Our Savior on the Cross was commissioned in 1786 for the Good Friday service at the underground Chapel of Santa Cueva in Cádiz, Spain. In his preface to one of the first published editions, Haydn describes the unique conditions of the service, which took place in near-total darkness. During the liturgy, the bishop would announce each of Christ’s final utterances from the cross (as recorded in the gospels of Matthew, Luke, and John), followed by a meditation, and then a musical reflection. Haydn composed seven slow movements (sonatas), each approximately ten minutes long, which correspond with each of the seven utterances. He later described it as one of the most difficult compositional tasks of his career.
One of Haydn’s most profound and spiritual works, The Seven Last Words of Our Savior on the Cross was commissioned in 1786 for the Good Friday service at the underground Chapel
Originally scored for orchestra, Haydn went on to arrange the work for string
Joseph Haydn – Introduction &
Joseph Haydn, circa 1791
of Santa Cueva in Cádiz, Spain. In his preface to one of the first published editions, Haydn describes the unique conditions of the service, which took place in near-total darkness. During the liturgy, the bishop would announce each of Christ’s final utterances from the cross (as recorded in the gospels of Matthew, Luke, and John), followed by a meditation, and then a musical reflection. Haydn composed seven slow movements (sonatas), each approximately ten minutes long, which correspond with each of the seven utterances. He later described it as one of the most difficult compositional tasks of his career.
Originally scored for orchestra, Haydn went on to arrange the work for string quartet, chorus, and also approved an arrangement for solo piano. In this performance, we present the outer movements surrounding the seven words: the harrowing Introduction and the thunderous final movement, Earthquake, which follows Christ’s death and the biblical passage: “the earth shook, and the rocks were split.”
The Introduction in D minor begins dramatically, immediately establishing a sense of emotional unrest. Pulsat-ing rhythmic figures propel the music forward while the harmony shifts unpredictably. This harmonic instability creates tension, and the brief moments of calm are quickly disrupted by sudden dynamic surges. The music seems to hesitate and resist resolution, evoking a deep, unresolved spiritual struggle.
The work concludes with an explosive, seemingly apocalyptic finale in C minor — a key not at all related to where the piece began. This kind of tonal journey, ending so far from the original D minor, is compositionally uncharacteristic of the time period; yet in this context, it feels entirely fitting, as it reinforces the sense of disruption. Swirling scales, trembling rhythmic figures, and relentless energy evoke the chaos of the earth-shattering moment at Golgotha.
1939. His parents and sister perished at the hands of the Nazis at the Trawniki concentration camp, and Weinberg managed to flee east to the Soviet Union. There, he was supported by fellow composer Dmitri Shostakovich and eventually settled in Moscow. However, during the Stalinist years, Weinberg faced political persecution, including pressure from the notorious Ministry of Internal Affairs.
Mieczysław Weinberg
Mieczysław Weinberg – Concertino for Violin and Strings, Op. 42
Mieczyslaw Weinberg (1919-1996) was a Polish-born composer with Jewish roots. He was trained at the Warsaw Conservatory and was just beginning his career when Germany invaded Poland in 1939. His parents and sister perished at the hands of the Nazis at the Trawniki concentration camp, and Weinberg managed to flee east to the Soviet Union. There, he was supported by fellow composer Dmitri Shostakovich and eventually settled in Moscow. However, during the Stalinist years, Weinberg faced political persecution, including pressure from the notorious Ministry of Internal Affairs.
The Concertino was written in 1948 and contains elements of neoclassicism, hearkening back to the musical aesthetics of earlier eras.
In the opening Allegretto cantabile, the violin enters immediately without any orchestral introduction, spinning out a line that is both icy and lyrical, as the muted strings whisper underneath. The violin line rises slowly, climbing higher and higher until it dissolves into silence, marked morendo (“dying away”).
The Concertino was written in 1948 and contains elements of neoclassicism, hearkening back to the musical aesthetics of earlier eras.
The second movement begins with a strikingly bare cadenza, an unaccompanied improvisation where the solo violin voices an intense emotional outcry. When the strings return, the music unfolds into a fragile and lyrical Adagio, full of warmth but shadowed by vulnerability.
In the opening Allegretto cantabile, the violin enters immediately without any orchestral introduction, spinning out a line that is both icy and lyrical, as the muted strings whisper underneath. The
In the final movement, Allegro modera-to poco rubato, the violin emerges from introspection into a swaying rondo – a musical form especially popular in the baroque and classical eras, featuring a recurring main theme with contrasting episodes in between. The music gradually becomes more unsettled, as a restless undercurrent begins stirring in the lower strings. The violin recalls earlier themes before being swept into a whirlwind, spiraling toward a frenzied conclusion.
Gioachino Rossini, circa 1815
3 in C Major
Gioachino Rossini (1792–1868) was one of the most celebrated composers of the early 19th century, best known for his operas such as The Barber of Seville, La Cenerentola, and William Tell, which took Europe by storm. Born in Pesaro, Italy, into a musical family, Rossini showed prodigious talent from an early age and composed his first opera at just 18. Though he retired from opera composition in his late thirties, Rossini remained a central figure in European musical life and later composed a number of chamber and sacred works.
This piece, which is part of a set of six string sonatas – was written when Rossini was just 12 years old, during a stay in Ravenna at the home of Agostino Triossi, an amateur double bass enthusiast — which helps explain the unusually prominent bass part. Even at such an early age, Rossini’s theatrical instincts, and his flair for comedy shine through.
The Sonata begins with grand sweeping gestures that feel like a curtain rising on an opera. The violins take turns exchanging the theme, while the cello and bass interrupt with playful jabs.
The second movement, Andante, opens in a threatening and deeply troubled manner. Then, in a sudden shift, a singing melody unfolds, reminiscent of arias by Mozart. The music eventually returns to its earlier sentimentality, fading away to nothingness.
This piece, which is part of a set of six string sonatas – was written when Rossini was just 12 years old, during a stay in Ravenna at the home of Agostino Triossi, an amateur double bass enthusiast — which helps explain the unusually prominent bass part. Even at such an early age, Rossini’s theatrical instincts, and his flair for comedy shine through.
The final movement returns to a spirit of playfulness, with Rossini’s sense of humor palpable in every twist and turn. Every instrument has a moment to shine, and each is outdoing the previous one with increasing speed and volatility.
The Sonata begins with grand sweeping gestures that feel like a curtain rising on
Joseph Haydn – Adagio cantabile from Symphony No. 13 in D Major
This symphony was written in 1763 for Prince Nikolaus Esterházy I, a Hungarian nobleman who was one of Haydn’s most important patrons and a central figure in the composer’s professional life. A lover of music and an amateur musician himself, Prince Nikolaus invested heavily in the arts to cultivate a sophisticated cultural life at his residence. Their 30 year relationship provided Haydn with financial stability, a private orchestra, and a fertile environment for creativity at the lavish Eszterháza palace — of-ten called the “Hungarian Versailles.” Though court life was sometimes isolated, Haydn credited this seclusion with helping him develop his originality.
The piece features a beautiful cello solo in the second movement — likely written for Joseph Franz Weigl, the court’s principal cellist, for whom Haydn also composed his 1st Cello Concerto in C major.
The Adagio cantabile is written in the style of an aria, with a gentle, swaying accompaniment. Winds and brass are absent in this movement, creating a transparent texture for the cello to float above. Haydn had a close and ongoing relationship with the musicians of the Esterházy orchestra, giving him a deep understanding of how to write idiomatically for each instrument. He takes full advantage of the cello’s expressive capabilities, especially in the upper registers.
Wolfgang Amadeus Mozart (1756–1791) was one of the most influential and prolific composers in history. Born in Salzburg, he showed extraordinary musical ability from an early age, performing across Europe as a child prodigy. Mozart’s output spans virtually every major genre of his time, including symphonies, concertos, chamber music, sacred works, and opera. In his short lifetime he produced over 600 compositions, many of which remain central to the concert repertoire today. His music shaped the development of the Classical style and remained a reference point for composers across many generations.
In the winter of 1772, at the age of sixteen, Mozart returned to his hometown of Salzburg after two extended tours through Italy. On such journeys, he was almost always accompanied by his father, Leopold Mozart, who was not only a respected composer and pedagogue but also an ardent promoter of his son’s extraordinary talent. Back in Salzburg, Mozart turned his attention to chamber music, producing three divertimenti for strings, of which this is the first. The work reveals both youthful exuberance and striking sophistication, qualities that reflect his growing independence as a composer even under the guiding presence of his father.
The opening Allegro brims with vitality. Rapid violin passages propel the music forward, only to break off in sudden silences that heighten the sense of anticipation. Midway through, the atmosphere shifts toward a more questioning, unsettled tone before the buoyant momentum returns.
This piece, which is part of a set of six string sonatas – was written when Rossini was just 12 years old, during a stay in Ravenna at the home of Agostino Triossi, an amateur double bass enthusiast — which helps explain the unusually prominent bass part. Even at such an early age, Rossini’s theatrical instincts, and his flair for comedy shine through.
The Andante offers a contrasting intimacy. Its tender lyricism unfolds with graceful simplicity, yet Mozart laces the movement with subtle surprises, moments that momentarily suggest closure only to subvert our expectations.
The Sonata begins with grand sweeping gestures that feel like a curtain rising on
The concluding Presto begins in a whisper, before bursting forth into an exuberant character. In the second half, Mozart introduces a brief contrapuntal exchange, with voices imitating one another in quick succession, before releasing the tension in return to unrestrained energy. Sudden shifts in dynamics and character contribute to a sense of spontaneity, culminating in a radiant conclusion.
Written by Artistic Director, Osheen Manukyan
Gioachino Rossini, circa 1815
OSHEEN MANUKYAN ARTISTIC DIRECTOR & CELLIST
Osheen Manukyan is an Armenian-American cellist, praised for his versatility and brilliance on the instrument, and for his emotionally charged performances as a soloist and chamber musician. He was born and raised in Los Angeles and began to play the cello at the age of six. He was the winner of the Colburn Youth Orchestra Concerto Competition in 2017 and studied with Richard Naill at the Colburn School. He then received a scholarship to study in New York at the Juilliard School, where he was a pupil of Timothy Eddy. During his collegiate studies, Manukyan was the Principal Cellist of the Juilliard Orchestra, and studied chamber music masterworks with members of the Emerson, Orion, Juilliard, and Brentano String Quartets. He graduated from Juilliard with his bachelor’s and master’s degrees in 2024.
GERMAINE JACOBS-TAYLOR CHAIR
Osheen Manukyan is an ArmenianAmerican cellist, praised for his versatility and brilliance on the instrument, and for his emotionally charged performances as a soloist and chamber musician. He was born and raised in Los Angeles and began to play the cello at the age of six. He was the winner of the Colburn Youth Orchestra Concerto Competition in 2017 and studied with Richard Naill at the Colburn School. He then received a scholarship to study in New York at the Juilliard School, where he was a pupil of Timothy Eddy. During his collegiate studies, Manukyan was the Principal Cellist of the Juilliard Orchestra, and studied chamber music masterworks with members of the Emerson, Orion, Juilliard, and Brentano String Quartets. He graduated from Juilliard with his bachelor’s and master’s degrees in 2024.
Osheen has appeared at festivals across the country such the Music Academy of the West in California, the Sarasota Festival in Florida, and the Aspen Festival in Colorado. He’s appeared on National Public Radio’s From the Top and has performed in some of the finest venues in the United States, such as Disney Hall in Los Angeles and Carnegie Hall in New York. A passionate ensemble musician, Osheen has performed as principal cellist under renowned conductors such as Marin Alsop, Stéphane Denève, and JoAnn Falletta.
Osheen has appeared at festivals across the country such the Music Academy of the West in California, the Sarasota Festival in Florida, and the Aspen Festival in Colorado. He’s appeared on National Public Radio’s From the Top and has performed in some of the finest venues in the United States, such as Disney Hall in Los Angeles and Carnegie Hall in New York. A passionate ensemble musician, Osheen has performed as principal cellist under renowned conductors such as Marin Alsop, Stéphane Denève, and JoAnn Falletta.
Since 2022, Osheen has served as the Artistic Director of Kontrapunktus. With a deep commitment to music education, Osheen teaches cello privately and at the Hollywood Youth Orchestra, a program of the Harmony Project.
Since 2022, Osheen has served as the Artistic Director of Kontrapunktus. With a deep commitment to music education, Osheen teaches cello privately and at the Hollywood Youth Orchestra, a program of the Harmony Project.
number of publications (i.e., Miami New Times, New York Classical Francisco Classical Voice, etc.) as a masterful violinist, Aubree proving to be one of the most compelling artists of her generation. ‘2021 Special Prize of Merit’ the prestigious Verbier Festival Switzerland, a National Young Foundation award, was honored as States Presidential Scholar in the selected for the Dorothy Fellowship and concerto performance Music Festival.
AUBREE OLIVERSON SOLOIST
H. SCOTT WEDGBURY & YUTAKA AKITA CHAIR
Praised by a number of publications (i.e., Miami New Times, New York Classical Review, San Francisco Classical Voice, etc.) as a masterful violinist, Aubree Oliverson is proving to be one of the most compelling artists of her generation. She won the ‘2021 Special Prize of Merit’ for violin at the prestigious Verbier Festival Academy in Switzerland, a National Young Arts Foundation award, was honored as a United States Presidential Scholar in the Arts and was selected for the Dorothy DeLay Fellowship and concerto performance at the Aspen Music Festival.
She made her solo debut with the Utah Symphony at age eleven, her Carnegie Hall Weill Hall recital debut at age twelve as winner of the America Protégé International Strings Competition and has been featured on NPR’s hit radio show From the Top several times. Aubree performs the world over and has collaborated with renowned artists such as Robert McDuffie at the Aspen Music Festival, Gil Shaham in Mexico, Renaud Capucon in France, Joseph Silverstein in Salt Lake City, Lynn Harrell, Jean-Yves Thibaudet, Orli Shaham, Robert Chen, Andrew Marriner, and Clive Greensmith in Los Angeles and Carl St. Clair in Orange County with the Pacific Symphony.
Aubree graduated from the Colburn Music Academy in 2016 and from the Colburn Conservatory in 2023 with a Bachelor’s Degree, Artist Diploma, and 2023 Francis Rosen Prize, studying with the Jascha Heifetz Distinguished Violin Chair, Mr. Robert Lipsett, for nine years.
solo debut with the Utah age eleven, her Carnegie Hall recital debut at age twelve as America Protégé International Competition and has been featured radio show From the Top several performs the world over collaborated with renowned artists Robert McDuffie at the Aspen Festival, Gil Shaham in Mexico, Capucon in France, Joseph Silverstein City, Lynn Harrell, Jean-Yves Orli Shaham, Robert Chen, Andrew Marriner, and Clive in Los Angeles and Carl St. Clair in Orange County with Symphony.
Aubree currently resides in Berlin, Germany, and plays a very fine Giovanni Battista Guadagnini violin kindly loaned to her by Irene R. Miller.
graduated from the Colburn Music Academy in 2016 and from the Conservatory in 2023 with a Bachelor’s Degree, Artist Diploma, and Rosen Prize, studying with the Jascha Heifetz Distinguished Mr. Robert Lipsett, for nine years.
currently resides in Berlin, Germany, and plays a very fine Giovanni Guadagnini violin kindly loaned to her by Irene R. Miller.
WENLAN JACKSON concertmaster
Born in New York City, violinist Wenlan Jackson has a blossoming career on both national and international stages. Among her recent engagements are solo performances with the Colburn Orchestra, Burbank Philharmonic, SoCal Philharmonic, San Fernando Valley Symphony Orchestra, and Orchestra Santa Monica. Recital invitations this year included a recital in Sapporo, Japan for eight-hundred children and teachers, as well as a recital at Rice University. She was the winner of the Mika Hasler Competition, SoCal Phil Young Artist Competition, Hennings-Fischer Young Artist Competition, Colburn Music Academy Concerto Competition, among other awards. A 2025-26 Fulbright Award recipient, Wenlan is pursuing her Master’s at Hochschule für Musik Hanns Eisler Berlin with Kolja Blacher. She recently earned her Bachelor’s of Music from the Colburn Conservatory of Music with Robert Lipsett. In 2023, Wenlan was a Featured Artist on the Grammy Award-winning album, “An Adoption Story”, soloing The Storm by Kitt Wakeley with the London Symphony Orchestra. She held the Frank Salomon Chair and served as Associate Concertmaster of the New York String Orchestra 2022, performing at Carnegie Hall. In recent years, she has performed at summer festivals including Gstaad Menuhin Festival, Nume
International Holland Music Sessions, Tibor Varga Academy, and
currently plays on a 1799 Nicolas Lupot violin, on loan from a private
her recent engagements are solo performances with the Colburn Orchestra, Burbank Philharmonic, SoCal Philharmonic, San Fernando Symphony Orchestra, and Santa Monica. Recital this year included a recital Sapporo, Japan for eight-hundred and teachers, as well as a Rice University. She was the the Mika Hasler Competition, Young Artist Competition, Hennings-Fischer Young Artist Competition, Colburn Music Academy Competition, among other A 2025-26 Fulbright Award Wenlan is pursuing her Hochschule für Musik Hanns Berlin with Kolja Blacher. She earned her Bachelor’s of Music Colburn Conservatory of with Robert Lipsett. In 2023, was a Featured Artist on the Award-winning album, “An Story”, soloing The Storm Wakeley with the London Symphony Orchestra. She held the Frank Salomon Chair and as Associate Concertmaster of the New York String 2022, performing at Carnegie Hall. In recent years, she has performed summer festival including Gstaad Menuhin Festival, Nume Festival, Verão Clássico, International Holland Music Sessions, Tibor Academy, and Aspen Music Festival. Wenlan currently plays on a 1799 Lupot violin, on loan from a private collection.
Festival, Festival Verão Clássico,
Aspen Music Festival. Wenlan
collection.
DUNCAN McDOUGALL – VIOLIN
DUNCAN McDOUGALL VIOLIN
Duncan McDougall is a Canadian violinist pursuing undergraduate degree with Martin Beaver at Colburn Conservatory of Music. Duncan has appeared with the National Arts Centre Orchestra, Toronto Symphony Orchestra, and the Calgary Philharmonic Orchestra, among others. Duncan was by CBC Music as one of Canada’s top 30 classical musicians under the age of 30 and was Grand Prize winner of the Canadian Music Competition. He was honored to receive the National Gold Medal for violin performance and pedagogy from the Royal Conservatory of in Toronto. An enthusiastic chamber musician, he won the Grand Prize, Gold Medal, Lift Voice Prize, and Horszowksi Trio Prize at 51st Fischoff Competition as a member of Trio He has collaborated with acclaimed artists Greensmith, Tatjana Masurenko, Teng Li, Jonathan Crow, Tessa Lark, and Yehonatan Berrick. In 2023 Duncan completed a European chamber music tour with pianist Jean-Yves Thibaudet and faculty of the Colburn School. Duncan plays a 1900 Scarampella violin on generous loan from the Colburn Collection.
Duncan McDougall is a Canadian violinist pursuing his undergraduate degree with Martin Beaver at the Colburn Conservatory of Music. Duncan has appeared with the National Arts Centre Orchestra, the Toronto Symphony Orchestra, and the Calgary Philharmonic Orchestra, among others. Duncan was chosen by CBC Music as one of Canada’s top 30 classical musicians under the age of 30 and was a Grand Prize winner of the Canadian Music Competition. He was honored to receive the National Gold Medal for violin performance and violin pedagogy from the Royal Conservatory of Music in Toronto. An enthusiastic chamber musician, he won the Grand Prize, Gold Medal, Lift Every Voice Prize, and Horszowksi Trio Prize at the 51st Fischoff Competition as a member of Trio Azura. He has collaborated with acclaimed artists Clive Greensmith, Tatjana Masurenko, Teng Li, Jonathan Crow, Tessa Lark, and Yehonatan Berrick. In 2023 Duncan completed a European chamber music tour with pianist Jean-Yves Thibaudet and faculty of the Colburn School. Duncan plays a 1900 Scarampella violin on generous loan from the Colburn Collection.
EUNICE LEE – VIOLIN
EUNICE LEE VIOLIN
EUNICE LEE – VIOLIN
Duncan McDougall is a Canadian violinist pursuing undergraduate degree with Martin Beaver at Colburn Conservatory of Music. Duncan has appeared with the National Arts Centre Orchestra, Toronto Symphony Orchestra, and the Calgary Philharmonic Orchestra, among others. Duncan was chosen by CBC Music as one of Canada’s top 30 classical musicians under the age of 30 and was Grand Prize winner of the Canadian Music Competition. He was honored to receive the National Gold Medal for violin performance and pedagogy from the Royal Conservatory of in Toronto. An enthusiastic chamber musician, he won the Grand Prize, Gold Medal, Lift Voice Prize, and Horszowksi Trio Prize at 51st Fischoff Competition as a member of Trio He has collaborated with acclaimed artists Greensmith, Tatjana Masurenko, Teng Li, Jonathan Crow, Tessa Lark, and Yehonatan Berrick. In 2023 Duncan completed a European chamber music tour with pianist Jean-Yves Thibaudet and faculty of the Colburn School. Duncan plays a 1900 Scarampella violin on generous loan from the Colburn Collection.
Eunice Lee is a violinist currently pursuing her studies at the Colburn Conservatory of Music under the mentorship of renowned pedagogue Robert Lipsett. A passionate performer and emerging artist, she has earned top honors innumerous competitions, including first prizes at the Young Stars of the Future Competition, the Classics Alive National Auditions, and the Bellflower Symphony Concerto Competition. Recently, Eunice has appeared as soloist with orchestras such as the Topanga Symphony, San Fernando Valley Symphony, and the Eisner Intergenerational Orchestra, among others. She is a recipient of the prestigious Colburn Foundation Scholarship in Violin and has been awarded multiple fellowships from the Dorothy Richard Starling Foundation in recognition of her artistic promise. Dedicated to chamber music, Eunice has recently collaborated with some of the field’s most celebrated musicians, including Augustin Hadelich, Inon Barnatan, Gil Shaham, Pekka Kuusisto, and Robert McDuffie. The Aspen Times wrote “[Eunice’s] playing is marked by both technical brilliance and expressive depth,” establishing her as a dynamic presence in today’s classical music landscape.
Lee is a violinist currently pursuing her at the Colburn Conservatory of Music under mentorship of renowned pedagogue Robert Lipsett. A passionate performer and emerging she has earned top honors innumerous competitions, including first prizes at the Young of the Future Competition, the Classics National Auditions, and the Bellflower Symphony Concerto Competition. Recently, has appeared as soloist with orchestras as the Topanga Symphony, San Fernando Symphony, and the Eisner Intergenerational Orchestra, among others. She is a recipient the prestigious Colburn Foundation Scholarship in Violin and has been awarded multiple fellowships from the Dorothy Richard Starling Foundation in recognition of her promise. Dedicated to chamber music, has recently collaborated with some of field’s most celebrated musicians, including Augustin Hadelich, Inon Barnatan, Shaham, Pekka Kuusisto, and Robert McDuffie. The Aspen Times wrote “[Eunice’s] playing is marked by both technical brilliance and expressive depth,” establishing a dynamic presence in today’s classical music landscape.
Lee is a violinist currently pursuing her studies at the Colburn Conservatory of Music under mentorship of renowned pedagogue Robert Lipsett. A passionate performer and emerging she has earned top honors innumerous competitions, including first prizes at the Young of the Future Competition, the Classics National Auditions, and the Bellflower Symphony Concerto Competition. Recently, has appeared as soloist with orchestras as the Topanga Symphony, San Fernando Symphony, and the Eisner Intergenerational Orchestra, among others. She is a recipient the prestigious Colburn Foundation Scholarship in Violin and has been awarded multiple fellowships from the Dorothy Richard Starling Foundation in recognition of her promise. Dedicated to chamber music, has recently collaborated with some of field’s most celebrated musicians, including Augustin Hadelich, Inon Barnatan, Shaham, Pekka Kuusisto, and Robert McDuffie. The Aspen Times wrote “[Eunice’s] playing is marked by both technical brilliance and expressive depth,” establishing a dynamic presence in today’s classical music landscape.
– VIOLIN
Dawid kasprzak VIOLIN
Wells Cathedral School in 2019, studying Catherine Lord. Shortly after, he qualified Menuhin Competition. His musical the UK included a recital at St John’s Church in London, a solo performance of Ascending with the English Symphony the Category Finals of the BBC Musician Competition 2022—widely regarded prestigious music competition in the UK, BBC Television and BBC Radio 3. won the Wells Cathedral School Concerto earning the opportunity to perform Violin Conce to No. 1 in F# minor, the WCS Symphony Orchestra. Throughout his career, he has had the work with many world-class artists and teachers, including Robert Lipsett, Laurie Smukler, Ann Setzer, Robin Wilson, and So-Ock Kim. In April 2023, second prize at the Grumiaux International Violin Competition in Brussels, of the most important violin competitions for young musicians in Europe. plays on a French instrument made by J. B. Vuillaume in 1849, kindly loaned by Simon Shapland.
SU – Cello
Dawid Kasprzak is a 20-year-old violinist from Poland. He is currently studying at the Colburn Conservatory with a renowned violin professor Robert Lipsett. Before pursuing his studies in the U.S., he became a specialist musician at Wells Cathedral School in 2019, studying in the class of Catherine Lord. Shortly after, he qualified for the 2021 Menuhin Competition. His musical performances in the UK included a recital at St John’s Evangelist Church in London, a solo performance of The Lark Ascending with the English Symphony Orchestra, and the Category Finals of the BBC Young Musician Competition 2022—widely regarded as the most prestigious music competition in the UK, broadcast by BBC Television and BBC Radio 3. Kasprzak also won the Wells Cathedral School Concerto Competition, earning the opportunity to perform Wieniawski’s Violin Conce to No. 1 in F# minor, Op. 14 with the WCS Symphony Orchestra. Throughout his career, he has had the opportunity to work with many world-class artists and teachers, including Robert Lipsett, Midori Gotō, Laurie Smukler, Ann Setzer, Robin Wilson, and So-Ock Kim. In April 2023, he won second prize at the Grumiaux International Violin Competition in Brussels, Belgium—one of the most important violin competitions for young musicians in Europe. He currently plays on a French instrument made by J. B. Vuillaume in 1849, kindly loaned by Simon and Peter Dee Shapland.
TOMSEN SU Cello
SU – Cello
A versatile musician, Tomsen Su seeks out projects that broaden the reach of classical music. His principal teachers include Joel Krosnick, Timothy Eddy, Ronald Leonard, Dr. Richard Naill, Ko Iwasaki, and Robert DeMaine. Additionally, he has taken master classes with János Starker, Gary Hoffman, Lynn Harrell, Frans Helmerson, and many others. As an active chamber musician Tomsen has participated at the Taos School of Music, Aspen Music Festival, Norfolk Music Festival, and Kneisel Hall Chamber Music School and Festival. Additionally, he was awarded top prizes at the inaugural M-Prize Junior Chamber Competition, WDAV String Quartet Competition, and Saint Paul String Quartet Competition in 2016 with the Chimera Quartet. Tomsen studied at the Juilliard School where he was a Kovner fellow. He currently teaches at the Pasadena Conservatory of Music as chamber and cello professor. He is also an audio engineer for Bento, a multifaceted agency. Tomsen performs on a 1926 Carl Becker Cello on loan from the Colburn Collection and a Giovanni Lucchi bow loaned to him by the Maestro Foundation.
is a 20-year-old violinist from Poland. studying at the Colburn Conservatory renowned violin professor Robert Lipsett. Before studies in the U.S., he became a specialist Wells Cathedral School in 2019, studying Catherine Lord. Shortly after, he qualified Menuhin Competition. His musical the UK included a recital at St John’s Church in London, a solo performance of Ascending with the English Symphony the Category Finals of the BBC Musician Competition 2022—widely regarded prestigious music competition in the UK, BBC Television and BBC Radio 3. won the Wells Cathedral School Concerto earning the opportunity to perform Violin Conce to No. 1 in F# minor, the WCS Symphony Orchestra. Throughout his career, he has had the work with many world-class artists and teachers, including Robert Lipsett, Laurie Smukler, Ann Setzer, Robin Wilson, and So-Ock Kim. In April 2023, second prize at the Grumiaux International Violin Competition in Brussels, of the most important violin competitions for young musicians in Europe. plays on a French instrument made by J. B. Vuillaume in 1849, kindly loaned by Simon Shapland.
musician, Tomsen Su seeks out projects that broaden the reach of classical principal teachers include Joel Krosnick, Timothy Eddy, Ronald Leonard, Dr. Ko Iwasaki, and Robert DeMaine. he has taken master classes with Gary Hoffman, Lynn Harrell, Frans and many others. As an active chamber Tomsen has participated at the Taos School Aspen Music Festival, Norfolk Music Kneisel Hall Chamber Music School and Additionally, he was awarded top prizes at the M-Prize Junior Chamber Competition, Quartet Competition, and Saint Paul Competition in 2016 with the Chimera Tomsen studied at the Juilliard School where Kovner fellow. He currently teaches at the Conservatory of Music as chamber and professor. He is also an audio engineer for multifaceted agency. Tomsen performs on a 1926 Cello on loan from the Colburn Collection Giovanni Lucchi bow loaned to him by the Foundation.
musician, Tomsen Su seeks out projects that broaden the reach of classical principal teachers include Joel Krosnick, Timothy Eddy, Ronald Leonard, Dr. Ko Iwasaki, and Robert DeMaine. he has taken master classes with Gary Hoffman, Lynn Harrell, Frans and many others. As an active chamber Tomsen has participated at the Taos School Aspen Music Festival, Norfolk Music Kneisel Hall Chamber Music School and Additionally, he was awarded top prizes at the M-Prize Junior Chamber Competition, Quartet Competition, and Saint Paul Competition in 2016 with the Chimera Tomsen studied at the Juilliard School where Kovner fellow. He currently teaches at the Conservatory of Music as chamber and professor. He is also an audio engineer for multifaceted agency. Tomsen performs on a 1926
YURI SANTOS – VIOLA
YURI SANTOS VIOLA
Distinguished for his versatility in solo, chamber, and orchestral repertoire, Brazilian native Yuri Santos has performed extensively across United States, Europe, and Brazil. He has received top prizes at the Beethoven-Haus Bonn String Quartet Competition, Macauley ChamberMusic Competition, and the South Florida Young Solo Competition, as well as the Music Society of Coral Lakes and Edward H. Benenson Awards. He currently serves as Concertmaster of Greeley Philharmonic Orchestra and will join Dior Quartet in the upcoming 2025-26 season. has collaborated with celebrated artists as Jeremy Denk, Arnaud Sussmann, Louis Lortie, Clive Greensmith, Andrés Díaz, and Calidore Quartet and has appeared as soloist the Bachiana Filarmônica Sesi-São Paulo, Greeley Philharmonic Orchestra, and Orquestra Antunes Câmara. Artistic residencies include Aspen Music Festival and School, Bravo! Vail, Britten Arts, MacPhail Center for Music in Minneapolis, and Music in the Vineyards in Napa Valley. Yuri earned a Bachelor of Music degree from Indiana University Bloomington and is currently pursuing a Master of Music degree at the Colburn School under Tatjana Masurenko. Past Mentors include Kevork Mardirossian, Mauricio Fuks, the Takács and Pacifica Quartets, and his father, Ênio Antunes.
Distinguished for his versatility in solo, chamber, and orchestral repertoire, Brazilian native Yuri Santos has performed extensively across the United States, Europe, and Brazil. He has received top prizes at the Beethoven-Haus Bonn String Quartet Competition, Macauley ChamberMusic Competition, and the South Florida Young Artist Solo Competition, as well as the Music Society of Coral Lakes and Edward H. Benenson Awards. He currently serves as Concertmaster of the Greeley Philharmonic Orchestra and will join the Dior Quartet in the upcoming 2025-26 season. Yuri has collaborated with celebrated artists such as Jeremy Denk, Arnaud Sussmann, Louis Lortie, Clive Greensmith, Andrés Díaz, and the Calidore Quartet and has appeared as soloist with the Bachiana Filarmônica Sesi-São Paulo, Greeley Philharmonic Orchestra, and Orquestra Antunes Câmara. Artistic residencies include Aspen Music Festival and School, Bravo! Vail, Britten Pears Arts, MacPhail Center for Music in Min-neapolis, and Music in the Vineyards in Napa Valley. Yuri earned a Bachelor of Music degree from Indiana University Bloomington and is currently pursuing a Master of Music degree at the Colburn School under Tatjana Masurenko. Past Mentors include Kevork Mardirossian, Mauricio Fuks, the Takács and Pacifica Quartets, and his father, Ênio Antunes.
NICOLAS VALENCIA – VIOLA
NICOLAS VALENCIA VIOLA
Distinguished for his versatility in solo, chamber, and orchestral repertoire, Brazilian native Yuri Santos has performed extensively across United States, Europe, and Brazil. He has received top prizes at the Beethoven-Haus Bonn String Quartet Competition, Macauley ChamberMusic Competition, and the South Florida Young Solo Competition, as well as the Music Society of Coral Lakes and Edward H. Benenson Awards. He currently serves as Concertmaster of Greeley Philharmonic Orchestra and will join Dior Quartet in the upcoming 2025-26 season. has collaborated with celebrated artists as Jeremy Denk, Arnaud Sussmann, Louis Lortie, Clive Greensmith, Andrés Díaz, and Calidore Quartet and has appeared as soloist the Bachiana Filarmônica Sesi-São Paulo, Greeley Philharmonic Orchestra, and Orquestra Antunes Câmara. Artistic residencies include Aspen Music Festival and School, Bravo! Vail, Britten Arts, MacPhail Center for Music in Minneapolis, and Music in the Vineyards in Napa Valley. Yuri earned a Bachelor of Music degree from Indiana University Bloomington and is currently pursuing a Master of Music degree at the Colburn School under Tatjana Masurenko. Past Mentors include Kevork Mardirossian, Mauricio Fuks, the Takács and Pacifica Quartets, and his father, Ênio Antunes.
Born in Houston to Colombian immigrants, Nicolas Valencia has performed on stages across the United States, Europe, South America, and the Caribbean. Nicolas is currently a fellow with the Los Angeles Chamber Orchestra. He received the inaugural viola position in the Thornton Virtuosi Chamber Ensemble, with whom he has played concerts in Washington DC and Los Angeles and has held principal viola positions in ensembles such as the Music Academy of the West, Thornton Symphony Orchestra, the Fantasmi Ensemble, and the New Spain Baroque Orchestra. As a guest recitalist and soloist, Nicolas has performed at notable venues such as Carnegie Hall, the Meyerson Symphony Center, the Colombian National Museum, the Sanctuary of Monserrate, the Occidental College of Los Angeles, the Dallas Hall of State, and Oklahoma City University. He has also performed in concert tours of Germany, the United Kingdom, Austria, the Czech Republic, Puerto Rico, and Colombia. Nicolas is currently pursuing graduate studies at the University of Southern California with Yura Lee.
NICOLAS VALENCIA – VIOLA
in Houston to Colombian immigrants, Nicolas Valencia has performed on stages across the United States, Europe, South America, and the Caribbean. Nicolas is currently a fellow with the Los Angeles Chamber Orchestra. He received the inaugural viola position in the Thornton Virtuosi Chamber Ensemble, with whom he has played concerts Washington DC and Los Angeles and has principal viola positions in ensembles such the Music Academy of the West, Thornton Symphony Orchestra, the Fantasmi Ensemble, the New Spain Baroque Orchestra. As a recitalist and soloist, Nicolas has performed notable venues such as Carnegie Hall, the Meyerson Symphony Center, the Colombian National Museum, the Sanctuary of Monserrate, Occidental College of Los Angeles, the Dallas of State, and Oklahoma City University. has also performed in concert tours of Germany, United Kingdom, Austria, the Czech Republic, Puerto Rico, and Colombia. Nicolas is currently pursuing graduate studies at the University of Southern California with Yura Lee.
in Houston to Colombian immigrants, Nicolas Valencia has performed on stages across the United States, Europe, South America, and the Caribbean. Nicolas is currently a fellow with the Los Angeles Chamber Orchestra. He received the inaugural viola position in the Thornton Virtuosi Chamber Ensemble, with whom he has played concerts Washington DC and Los Angeles and has principal viola positions in ensembles such the Music Academy of the West, Thornton Symphony Orchestra, the Fantasmi Ensemble, the New Spain Baroque Orchestra. As a recitalist and soloist, Nicolas has performed notable venues such as Carnegie Hall, the Meyerson Symphony Center, the Colombian National Museum, the Sanctuary of Monserrate, Occidental College of Los Angeles, the Dallas of State, and Oklahoma City University. has also performed in concert tours of Germany, United Kingdom, Austria, the Czech Republic, Puerto Rico, and Colombia. Nicolas is currently pursuing graduate studies at the University of Southern California with Yura Lee.
NICHOLAS ARREDONDO – DOUBLE BASS
NICHOLAS ARREDONDO DOUBLE BASS
Double bassist Nicholas Arredondo is the Resident Bass Fellow of the Los Angeles Philharmonic. Mr. Arredondo was born in Los Angeles and grew up in Portland, Oregon, where he began studying bass with Don Hermanns and Ted Botsford before attending the Colburn Conservatory of Music, continuing his studies with Peter Lloyd. Nicholas has been a finalist and won top prizes in major competitions including the Sphinx Competition, YoungArts, and the Vancouver Symphony Concerto Competition. With a great passion for orchestral music, Nicholas has had the opportunity to tour around the world as principal double bass under the batons of conductors such as Valery Gergiev, Stéphane Denève, and Esa-Pekka Salonen and in major halls such as Suntory, Walt Disney Concert Hall, Usher, and Ozawa. He has performed as orchestral, chamber, and solo musician in the Pacific Music Festival, Taipei Music Academy and Festival, Edinburgh Music Festival, Perlman Music Program, and the National Arts Centre Young Artists Program and with renowned artists such as Noah Bendix-Balgley, Martin Chalifour, and Scott St. John.
Double bassist Nicholas Arredondo is the Resident Bass Fellow of the Los Angeles Philharmonic. Mr. Arredondo was born Los Angeles and grew up in Portland, Oregon, where he began studying bass with Don Hermanns and Ted Botsford before attending the Colburn Conservatory of Music, continuing his studies with Peter Lloyd. Nicholas has been a finalist and won top prizes in major competitions including the Sphinx Competition, YoungArts, and the Vancouver Symphony Concerto Competition. With a great passion for orchestral music, Nicholas has had the opportunity to tour around the world as principal double bass under the batons of conductors such as Valery Gergiev, Stéphane Denève, and Esa-Pekka Salonen and in major halls such as Suntory, Walt Disney Concert Hall, Usher, and Ozawa. He has performed as orchestral, chamber, and solo musician in the Pacific Music Festival, Taipei Music Academy and Festival, Edinburgh Music Festival, Perlman Music Program, and the National Arts Centre Young Artists Program and with renowned artists such Noah Bendix-Balgley, Martin Chalifour, and Scott St. John.
OUR SPONSORS
We’d like to extend our heartfelt gratitude to the following whose support made this season possible:
A big thank you to our fans! Our shows would not be possible without you.
OUR PATRONS
In Special Recognition
Platinum Patrons
Mr. Greg Miles & Ms. Jane Casanova
Mr. Donald & Mrs. Janet Hu
Mrs. Germaine Jacobs-Taylor
Mr. Ronald & Ada Jennings
Mr. Richard & Mrs. Elizabeth McConaughy
Mr. Thomas & Mrs. Margarita Solazzo
Mr. Joseph & Mrs. Irene Tomkinson
Mr. H. Scott Wedgbury & Mr. Yutaka Akita
Gold Patrons
Mr. Robert & Mrs. Jane Bard
Mr. Derrick Ford
Mr. Lacy & Mrs. Nikki Marlette
Mr. David & Mrs. Darrelyn Melilli
Ms. Tricia Raymund
Mr. Tom Roddel
Mr. Jack & Mrs. Katharine Schoellerman
Mr. Mark A. Thurman
Silver Patrons
Mr. Mike & Mrs. Jane Burke
Mr. John Campbell
Mr. John & Mrs. Robin Ellis
Ms. Patricia Houston
Mr. Morris & Mrs. Jane Houston Jones
Mr. Richard Lowrey
Mr. Timothy J. Molnar
Mr. Steven & Mrs. Kathy Morgan
Mr. Michael & Mrs. Julie Pearce
Mr. Philip A. Ross
Mr. Anthony V. & Mrs. Colleen Salerno
Mr. Thomas & Mrs. Norita Stewart
Bronze Patrons
Mr. Larry Allen
Mr. J. Winthrop Aldrich
Mr. Larry Allen
Ms. Carol Baker
Mr. Harold Ray Brown
Mr. Jeremy Chen
Mr. Chase & Mrs. Duke Fung
Dr. Randolph J. & Dr. Natasha Jacobs
Ms. Janet Leonards
Ms. Julia Metzger
Mr. Rufus & Mrs. Gretchen Rhoades
Dr. Vernon Rosario
Mrs. Judith Sojka
Mr. Larry Allen
Mr. J. Winthrop Aldrich
Mr. Larry Allen
Ms. Carol Baker
Mr. Harold Ray Brown
Mr. Jeremy Chen
Ms. Deborah Anderson
Mr. Also Barrios
Ms. Catherine Benecke
Mr. Seth Brandes
Ms. Betsy Davis
Ms. Carole Driscoll
Mr. Arturo Esparza
Mr. Richard Foss
Ms. Colleen Friend
Mr. John Gates
Ms. Jane W. Golden
Ms. Monika Goodwin
Ms. Terri Gyr
Ms. Rayna Hamre
Ms. Yinyin Huang
Mr. Mark Huber
Mr. Greg Johnson
Special Patrons
Ms. Deborah Anderson
Bronze Patrons
Mr. Also Barrios
Ms. Catherine Benecke
Mr. Seth Brandes
Mr. Chase & Mrs. Duke Fung
Ms. Betsy Davis
Dr. Randolph J. & Dr. Natasha Jacobs
Ms. Carole Driscoll
Mr. Arturo Esparza
Mr. Richard Foss
Ms. Janet Leonards
Ms. Julia Metzger
Mr. Rufus & Mrs. Gretchen Rhoades
Ms. Colleen Friend
Mr. John Gates
Ms. Jane W. Golden
Ms. Monika Goodwin
Ms. Terri Gyr
Special Patrons
Ms. Rayna Hamre
Ms. Yinyin Huang
Mr. Mark Huber
Mr. Greg Johnson
Ms. Lynn Jordan
Ms. Susan Mason
Ms. Laurie Meinhold
Ms. Phyllis Michaels
Ms. Ann Miguel
Mr. Tres Palmer
Mr. Tao Radoczy
Ms. Sandra Reid
Ms. Trudy Roe
Ms. Lynette Sim
Ms. Marilyn Shenker
Ms. Rona Sonshine
Ms. Lorelei Tanji
Ms. Catherine Waters
Mr. Kirby Williams
Ms. Donna Young
Dr. Vernon Rosario
Mrs. Judith Sojka
Ms. Lynn Jordan
Ms. Susan Mason
Ms. Laurie Meinhold
Ms. Phyllis Michaels
Ms. Ann Miguel
Mr. Tres Palmer
Mr. Tao Radoczy
Ms. Sandra Reid
Ms. Trudy Roe
Ms. Lynette Sim
Ms. Marilyn Shenker
Ms. Rona Sonshine
Ms. Lorelei Tanji
Ms. Catherine Waters
Mr. Kirby Williams
Ms. Donna Young
Kontrapunkus is a 501(c)(3) non-profi t performing arts organization. Please consider making a tax-deductible donation by visiting: https://www.kontrapunktusmusic.org/donate
Kontrapunkus is a 501(c)(3) non-profit performing arts organization. Please consider making a tax-deductible donation by visiting: https://www.kontrapunktusmusic.org/donate
