Classical Voice Class of 2025 Showcase_Program

ORANGE COUNTY SCHOOL OF THE ARTS Classical Voice Conservatory presents

MARCH 25, 2025 | 7PM DMS101 | Kathy & Gary Conrad Choral Room This concert is part of the 2024-2025 Murdy Foundation Concert Season

Dear Friends & Families, It is my privilege to welcome you to the 2024-2025 performance season at Orange County School of the Arts (OCSA)! I am so honored to introduce this year’s amazing lineup of student performances and events.

This school year marks an exceptional milestone, as OCSA has now resided and flourished in the city of Santa Ana for 25 years! Over the past quarter of a century, the OCSA campus in Santa Ana has seen countless performances and served as the launching pad for thousands of dreams. Our campus has also provided a home away from home for students (and staff!) from Santa Ana and beyond. I cannot wait to see how our legacy within Santa Ana continues to grow and evolve.

As we open yet another exciting chapter in the history of the school, I would like to give a warm welcome to our new Chief Operations Officer, Dr. Gregory Endelman. Not only does he bring a wealth of knowledge and experience to the position, but he is also a great and caring human being who is ready to do what it takes to help our school be the best it can be for our students and staff.

I am looking forward to partnering with Dr. Endelman, along with our esteemed administrators, faculty, and staff, to take OCSA into this next chapter!

At this time, I want to express my heartfelt appreciation to our 2024-2025 corporate season sponsors, Pendry Newport Beach, Farmers & Merchants Bank, Boot Barn, and Yamaha, as well as to our Board of Trustees, Foundation Board of Directors, Emeritus Board, President’s Circle, and Encore members. The continued success of OCSA’s mission would not be possible without their support, leadership, and vision.

Finally, I must acknowledge our parents, alumni, administrators, faculty and staff, members of the local community, and most importantly, our student artists.

Our students are the inspiration and driving force behind what we do every single day.

I am thrilled to have you join me in celebrating another impressive performance season.

Please enjoy all of the magic OCSA has to offer!

With gratitude,

Teren M. Shaffer President & CEO Orange County School of the Arts

We provide an unparalleled arts and academic education in a creative, challenging, and nurturing environment to a diverse group of students who are passionate about the arts, preparing them to reach their highest potential.

Established in 1987, the nationally recognized Orange County School of the Arts (OCSA) offers a dynamic school culture that enables students to flourish as artists and scholars. The school currently serves a diverse student body of approximately 2,300 students in grades 7-12 from more than 100 cities throughout Southern California.

In addition to offering a challenging college-preparatory academic program that produces high-achieving, motivated scholars, OCSA provides aspiring young artists with the opportunity to refine their skills and flourish in one of 17 arts conservatories. Each year, more than 200 concerts, recitals, staged performances, and exhibitions are presented at a variety of venues in Orange County and throughout the world, providing students with the unique experience of entertaining and inspiring thousands of audience members.

OCSA is a donation-dependent public charter school; no student is offered or denied admission based on financial capacity. The school’s rigorous academic education coupled with advanced arts training has impacted many students, molding generations of creative thinkers, leaders, artists, innovators, and entrepreneurs.

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PROGRAM OF THE EVENING

CLASSICAL VOICE CONSERVATORY PRESENTS

2024-2025 Murdy Foundation Concert Series Dr. Ryan Reithmeier, Robert Norman, Instructors Lisa Iwaki, Music Preparation Jin Kyung Kim, Music Preparation Dr. Jung A Lee, Piano ***

MARCH 25, 2025 | 7:00 PM

Kathy and Gary Conrad Choral Room | Orange County School of the Arts

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PROGRAM OF THE EVENING

ITALIAN “Quando m’en vo” from La bohème

Giacomo Puccini

Madison Becerra

(1858-1924)

“O cessate di piagarmi” from II Pompeo

Alessandro Scarlatti

Taylor Pham

(1659-1725)

“Non t’amo più”

Francesco Paolo Tosti

Jaden Yoo

(1846-1916)

GERMAN (sung in ENGLISH) “Song of the Flea (Op. 75. No. 3)”

Ludwig van Beethoven

Paxton Wong

(1770-1827)

ENGLISH “Take, O Take Those Lips Away”

Amy Beach

Lal Besir (1867-1944)

“I Have Dreamt” from Wuthering Heights

Bernard Herrmann

Nikki Smith

(1911-1975)

“The Willow Song” from The Ballad of Baby Doe

Douglas Moore

Eliza Tait

(1893-1969)

“Faithful One” from Mortal Storm

Robert Owens

Jack Wilson

(1925 - 2017)

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PROGRAM OF THE EVENING

SPANISH “Mas Cerca de mi te Siento” from Cantares de mi Tierra

Julio Osmo

Ella Mortensen (1888-1938) “Vinagrillo Morado” from Flores Argentinas

Carlos Guastavino

Garrett Wirth

(1912-2000)

SONGS FROM THE GREAT AMERICAN SONGBOOK “For you, for me, for evermore” from The Shocking Miss Pilgrim Grant Conroy “Young at Heart”

George Gershwin

(1898-1937)

Johnny Richards

Matthew Henderson (1911-1968) “The Very Thought of You” from Victor

Ray Noble

Vincent Lu (1903-1978) “And I Love You So” from album Tapestry Alec Ortega-Fosado

Don Mclean (1945-Present)

KOREAN "신아리랑" ("Shin Arirang")

Dong-Jin Kim

Yewon Jang (1913-2009) "경상도 아리랑" ("Kyungsando Arirang")

Sky Keyoung

Lee Young Jo

PROGRAM OF THE EVENING

JAPANESE “Cherry Alley”

Yoshinao Nakada

Natalia Caraveo

(1923-2000)

“Hatsukoi” Tatsunosuke Koshitani Mona George (1909 - 1982) MANDARIN “燕子” ("Yanzi")

Angel Shen ​​

*** THANK YOU Classical Voice Faculty and Parent Volunteers

Technical support by the Production & Design Conservatory Director of Classical Voice: Dr. Ryan Reithmeier Box Office Coordinators: Alyssa Felix Garcia, Alexi McGinness, Nichole Smith

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PROGRAM NOTES

ITALIAN “Quando m’en vo” from La bohème

“Quando m’en vo” takes place in Act 2. Musetta enters Café Momus and is amongst her bohemian friends. She spots her former boyfriend and decides to make a move (steal the spotlight). Musetta wants to express how she’s constantly admired by people who see her. She’s flaunting her confidence and beauty. Musetta is trying to receive attention from her on and off boyfriend, Marcello. In the beginning of the opera, Musetta thought that love is something that needs to be earned and worked for, but later on she learns that she wants to feel the security in love. Musetta feels unforgivable because later she begins to regret her past decisions of being with whoever she wants to.

Giacomo Puccini (1858-1924) Italian Composer, Giacomo Puccini (1858 - 1924) known for his beautifully made verismo compositions and beloved operas. His works include soaring vocal melodies. His most recognized works include La bohème, Madama Butterfly, Turandot, and Tosca. Puccini was greatly influenced by music from the late Baroque era. The libretto is by Luigi Illica and Giuseppe Giacosa.

TEXT TRANSCRIPTION Quando me’n vo’, quando me’n vo’ soletta per la via la gente sosta e mira... e la bellezza mia tutta ricerca in me, ricerca in me da capo a piè.

Ed assaporo allor la bramosia sottil, che da gl’occhi traspira; e dai palesi vezzi intender sa alle occulte beltà.

Così l’effluvio del desìo tutta m’aggira; felice mi fa, felice mi fa!

E tu che sai, che memori e ti struggi, da me tanto rifuggi?

So ben: le angoscie tue non le vuoi dir, non le vuoi dir; so ben, ma ti senti morir!

POETIC TRANSLATION When walking alone on the street, People stop and stare, They each admire my beauty, From head to toe, I long for the cravings, From their eyes transpired, They all admire my charms and hidden beauties, I elude the feeling and scent of desire.

It makes me so happy to know that they adore me!

People look at me and I can see right through them, I see that deep within themselves they’re jealous of me.

They feel like dying!

Madison Becerra

PROGRAM NOTES

“O cessate di piagarmi” from II Pompeo

One of his most famous arias, “O cessate di piagarmi,” comes from the opera Il Pompeo, first performed in 1683. This sorrowful piece portrays a character overwhelmed by heartbreak, pleading for their beloved to stop causing them pain or let them die. The music perfectly mirrors this despair with aching melodies, poignant harmonies, and dramatic shifts in tonality. The aria captures the raw intensity of love and rejection, making it a deeply moving moment within the opera.

Though written centuries ago, its themes of longing and sorrow remain timeless, resonating with audiences even today.

Scarlatti’s legacy endures through his emotionally powerful compositions.

Alessandro Scarlatti (1660-1725) Alessandro Scarlatti (1660–1725) was an Italian Baroque composer renowned for his operas and vocal music. He played a significant role in shaping the Neapolitan style of opera, which later influenced many other composers. His music is known for its expressive melodies and rich harmonies that vividly convey deep emotions. Scarlatti’s works, particularly his operas and cantatas, showcase his mastery of dramatic storytelling through music.

TEXT TRANSCRIPTION O cessate di piagarmi, O lasciatemi morir.

Luc’ingrate, Dispietate, Più del gelo e più del marmi Fredde e sorde a’miei martir.

O cessate di piagarmi, O lasciatemi morir.

POETIC TRANSLATION O no longer seek to pain me, Or give o’er, and let me die.

Eyes so fateful, so ungrateful, Ice nor stone could so disdain me, Nor so coldly hear my cry.

No longer seek to pain me, Or give o’er, and let me die.

Taylor Pham

“Non t’amo più”

“Non t’amo più”, is one of Tosti’s most well known neapolitan songs and is an example of his ability to convey intense emotions through what sounds simple yet touching methods. The song, set to a passionate and sorrowful text by poet Carmelo Errico, explores the difficulties and trueness of lost love. The vocal line flows and is very expressive and alternates between moments of lyrical sweetness and dramatic intensity. Below, the accompaniment provides deep harmonic depth and subtle shifts that reflect the shifting emotions of the text. Tosti’s art for melodic writing is really highlighted in this piece which makes it a favorite and popular choice in the Italian song repertoire.

Francesco Paolo Tosti (1846-1916) Francesco Paolo Tosti is an Italian composer that was well known and praised for his arias (romanze da salotto) that gained popularity in Italy and England during the late 19th and early 20th centuries. After studying at the Naples Conservatory, Tosti was known for his ability to blend the lyrical vocal line with rich and expressive harmonies that made his songs a favorite for singers and audiences. His music displays extensive melodies, crisp rhythmic choices, and elegant phrasing. These choices were all influenced by the Italian bel canto style and the parlor song style of the era.

PROGRAM NOTES

TEXT TRANSCRIPTION Ricordi ancora il dí che c’incontrammo?

Le tue promesse le ricordi ancor?

Folle d’amore io ti seguii, ci amammo, E accanto a te sognai, folle d’amor.

Sognai felice di carezze a baci Una catena dileguante in ciel; Ma le parole tue furon mendaci Perché l’anima tua fatta è di gel.

Te ne ricordi ancor?

Te ne ricordi ancor?

Or la mia fede, il desiderio immenso Il mio sogno d’amor non sei piú tu I tuoi baci non cerco, a te non penso Sogno un altro ideal: Non t’amo più, non t’amo più!

Nei cari giorni che passamo insieme, io cosparsi di fiori il tuo sentier.

Tu fosti del mio cor l’unica speme, tu della mente l’unica pensier.

Tu m’hai visto pregare, impallidire, piangere tu m’hai visto inanzi a te.

Io, sol per appagare un tuo desire avrei dato il mio sangue e la mia fè.

Te ne ricordi ancor?

Te ne ricordi ancor?

Or la mia fede, il desiderio immenso Il mio sogno d’amor non sei piú tu I tuoi baci non cerco, a te non penso Sogno un altro ideal: Non t’amo più, non t’amo più!

POETIC TRANSLATION Do you still remember the day we met?

Do you still remember your promises?

Madly in love I followed you, We loved each other, And next to you I dreamed, mad with love.

Happily I dreamed of a chain of caresses And kisses fading into the sky; But your words were false Because your soul is made of ice.

Do you still remember?

Do you still remember?

Now my faith, my immense desire My dream of love is no longer you I don’t long for your kisses, I don’t think of you I dream of another ideal: I love you no more, I love you no more!

In the dear days that we passed together, I scattered your path with flowers.

You were the only hope of my heart, you the only thought of my mind.

You have seen me praying, turning pale, you have seen me crying before you.

Just to gratify your slightest desire I would have given my blood and my faith.

Do you still remember?

Do you still remember?

Now my faith, my immense desire My dream of love is no longer you I don’t long for your kisses, I don’t think of you I dream of another ideal: I Don’t Love You Anymore!

Jaden Yoo

PROGRAM NOTES

GERMAN (sung in ENGLISH) “Es war einmal ein König/The song of the Flea” from Op. 75 of Lieder

In the lieder “The Song of the Flea”, entails the story of a king who owned a very large flea; treating him like a son and getting him his own clothes. In the later portion of the song where all of the court is unable to itch due to the many fleas, you can feel the frantic nature of the scene as the pace of the song speeds up.

Ludwig van Beethoven (1770 - 1827) Ludwig Van Beethoven (1770-1827) was a German Composer, known for his greater works such as Moonlight Sonata, Symphony no.3, and Symphony no.5. He is recognized as a great composer during the transitional period between the classical and romantic eras, his work is renowned for its unique, darker sound.

TEXT TRANSCRIPTION Es war einmal ein König Der hatt’ einen großen Floh Den liebt’ er gar nicht wenig Als wie seinen eig’nen Sohn.

Da rief er seinen Scheider, Der Schneider kam heran; “Da, miß dem Junker Kleider Und miß ihm Hosen an!”

POETIC TRANSLATION There once was a king Who had a large flea Whom he loved not a little, Just like his own son.

He summoned his tailor, The tailor appeared: ‘Here - make robes for this knight And make him breeches too!’

In Sammet und in Seide War er nun angetan, Hatte Bänder auf dem Kleide, Hatt’ auch ein Kreuz daran, Und war sogleich Minister, Und hatt einen großen Stern.

Da wurden seine Geschwister Bei Hof auch große Herrn.

In silk and satin The flea was now attired, With ribbons on his coat, And a medal too, And became a minister straightaway And wore an enormous star.

His brothers and his sisters Became grand at court as well.

Und Herrn and Frau’n am Hofe, Die waren sehr geplagt, Die Königin und die Zofe Gestochen und genagt, Und durften sie nicht knicken, Und weg sie jucken nicht, Wir knicken und ersticken Doch gleich, wenn einer sticht.

And courtly lords and ladies Were most grievously plagued, Queen and maid-in-waiting

Paxton Wong

PROGRAM NOTES

ENGLISH “Take, O Take Those Lips Away”

William Shakespeare “Take, O Take Those Lips Away”, is based on a passage from Shakespeare’s Twelfth Night, where the character Orsino expresses his sorrow and longing over unrequited love. The lyrics convey a sense of emotional pain, with Orsino asking for the removal of the source of his heartache — the unattainable object of his affection.

Amy Beach (1867-1944) American composer and pianist, Amy Beach (1867-1944), is known for her contributions to art song, symphonic works, and chamber music. Her notable compositions include the “Piano Concerto in C-sharp minor” and the “Gaelic Symphony”, which helped establish her as one of the first successful female composers in the United States.

TEXT TRANSCRIPTION Take, oh take those lips away That so sweetly were forsworn And those eyes: the breake of day Lights that do mislead the Morn; But my kisses bring again, bring again Seals of love, but sealed in vain, sealed in vain

Lal Besir

“I Have Dreamt” from Wuthering Heights

This aria takes place in the second act, first scene. Wuthering Heights starts in Earnshaw’s manor when Mr. Earnshaw leaves his children, Cathy and Hindley for a business trip and comes back with an abandoned boy her age, Heathcliff.

Mr. Earnshaw adopts Heathcliff, and he and Cathy become quick friends.They grow up together in the manor, and when Mr. Earnshaw dies, Hindley takes over as head of the household, demoting Heathcliff to a farmhand. While on a walk in a neighboring property, Cathy and Heathcliff are chased by a dog, and then caught. This leads to Heathcliff being sent away. Later in life, Cathy is set to marry Edgar Linton, yet finds herself to still be in love with Heathcliff.

Cathy sings, lamenting about her fear of what is in store for her if she were to marry Edgar. In this song, there are long sweeping lines, showing how she feels almost trapped into marrying Edgar. There are constant triplets in the piano, highlighting that time is continuing to roll on as she feels stuck. Cathy also sings triplets, yet slower than the piano. Her hesitation is very clear and each line lingers into a culmination of all her negative thoughts.

Bernard Herrmann (1911 - 1975) Bernard Herrmann is a well known composer for movies, and has only composed one opera. He has worked on many movies, Citizen Kane, Taxi Driver, and Psycho. Herrmann started composing at a very young age. In high school, he attended classes on composition and conducting at NYU. He continued his education, going to Julliard School. Even though he had received recognition for his work on Citizen Kane, he rose to stardom with his work on Psycho, with new inventive ways to write music for film. As time went on he continued to prove himself to be a dynamic composer, winning a BAFTA for his movie Taxi Driver in 1977. During a trip to England as a guest conductor for the BBC Symphony, he visited Emily Brönte’s home, which became his inspiration for Wuthering Heights. He began working on the score in 1943, and his wife, Lucille Fletcher wrote the Libretto. He wrote this near the beginning of his career, and although it is not as popular as his other works, it holds its weight in artistic value. His last work was Taxi Driver, with him finishing it a day before his death.

PROGRAM NOTES

TEXT TRANSCRIPTION I have dreamt in my life dreams that have stayed with me forever, and have gone through and through me, like wine through water, and have altered the color of my mind.

I dreamt once that I was in heaven, And that heav’n did not seem to be my home.

And I broke my heart with weeping to see the heath again.

And the angels flung me back to earth, and Wuthering Heights, Where I awoke, sobbing, sobbing, for joy.

Nikki Smith

“The Willow Song” from The Ballad of Baby Doe

In the aria “The Willow Song” Baby Doe sits at a piano, playing and singing for herself. The song she sings sounds like an ordinary song about lost love. However, she is actually singing about her broken marriage with Harvey Doe and how it fell apart. This aria is the second scene of act one. This aria shows how Horace Tabor becomes infatuated with Baby Doe after watching her through a window. Act 1 is very impactful as it shows the growing relationship between Baby Doe and Horace Tabor even though they are married.

Douglas Moore (1893 - 1969) American composer, Douglas Moore (1893-1969) was known most famously for his folk-like melodies. His most recognized works being “The Ballad of Baby Doe” and “The Devil and Daniel Webster.” He went to Yale for his B.A. in 1917. After serving in the Navy he went to Paris to devote his time to music. The Ballad of Baby Doe is Moore’s most famous opera. The opera’s premiere took place at the Central City Opera in Colorado in 1956. This opera is based on the lives of historical figures Horace Tabor and Elizabeth “Baby” Doe Tabor.

TEXT TRANSCRIPTIONS “Willow, where we met together...Willow, when our love was new...Willow, if he once should be returning, pray tell him I am weeping too.

So far from each other as the days pass in their emptiness away...O my love, must it be forever...never once again to meet as on that day...and never rediscover a way of telling all our hearts could say.

Gone are the days of pleasure....gone are the friends I had of yore...only the recollection fatal of a word that was spoken: Nevermore...

Willow, where we met together...Willow, when our love was new...Willow, if he once should be returning pray tell him I am weeping too...”

Eliza Tait

PROGRAM NOTES

“Faithful One” from Mortal Storm

In the art song “Faithful One” the narrator of the piece reflects on a relationship he has with another woman, one which he reveals to be very toxic and unhealthy. He repeatedly is unfaithful to the woman, but for some reason she always lets him in when he returns. It is a somber piece, where the text suggests that the narrator has some regret over the situation that he creates, but will not directly end the relationship himself. The implication is that both characters are waiting for the other to do something, but neither of them ever will.

Robert Owens (1925 - 2017) American composer Robert Owens (1925 - 2017) was most well known for being a pioneer for African American art song, also acting as an accompanist and concert pianist. His compositions were primarily for voice and were almost entirely in English and German. He started composing in high school, but would further refine his skills by studying in Europe after serving in the military. After this period he briefly moved to the state of Georgia to teach; he would meet poet Langston Hughes there, someone whose poetry he would go on to extensively set in art song.

TEXT TRANSCRIPTION Though I go drunken to her door, I’m ever so sure she’ll let me in.

Though I wander and stray and wound her sore, She’ll open the latch when I come again.

No matter what I do or say, She waits for me at the end of day.

Jack Wilson

SPANISH “Mas Cerca de mi te Siento” from Cantares de mi Tierra

“Más Cerca de mi te Siento” features a repetitive whimsical melody that symbolizes the character’s descent into a mental cycle as she realizes she cannot escape her love for this person no matter how far away she runs from him.

In the original source material by Ramón de Campoamor, one section of the extended translated poem reads, “I listened to you without hearing, and looked at you without seeing.” This phrase represents the heart of the song, where physical presence does not equal genuine connection; that an in-depth understanding of a person can come from a connection that goes beyond physical appearance, highlighting the complexities of human relationships. Even as she tries to fall out of love with this person, she cannot escape the seemingly arbitrary and random connection she has to him. The rhythm is complex and has unique intricacies that when aligned with the accompaniment create an chaotic feel reminiscent of a mental spiral that’s uncontrollable and unstoppable.

Julio de Osma (1888 - 1938) Julio Osmo (1888 - 1938) was a Spanish composer born in Barcelona. He studied church music, piano, and composition in Barcelona and Paris as a child and toured Russia with prominent singers later in his life. He was the founder of the Conservatory of music at San Jose, Costa Rica. He was noted for his Spanish songs, and composed a song cycle called Cantares de mi Tierra, or Songs of my Spanish Soil.

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PROGRAM NOTES

TEXT TRANSCRIPTION Más cerca de mí te siento Cuanto más huyo de tí, Pues tu imágen es en mí Sombra de mi pensamiento

TRANSLATION I feel closer to you The more I run from you, For your image haunts The very shadow of my thoughts.

Ella Mortensen

“Vinagrillo Morado” from Flores Argentinas

“Vinagrillo Morado” is from a song cycle called Flores Argentinas by Carlos Guastavino. This song cycle is about 12 different flowers of 12 different regions of Argentina using tunes traditional to that region in order to make the song.

Within the song “Vinagrillo Morado,” this character recalls his memory of a beautiful garden, and more specifically the vinagrillo flowers that once flourished, but now being left forgotten, the garden is stricken with weeds and the flowers are wilting.

Carlos Guastavino (1912-2000) Argentinian composer, Carlos Guastavino (1912-2000), was one of the most notable composers of his time, often being referred to as Argentinian Schubert or “the Schubert of the Pampas.” Notable works include La Rosa y el sauce, Bailecito, and Sonatina. He was a nationalistic composer, and as such mainly wrote about his country’s beautiful landscape and environment. In 1938 he was invited to a scholarship to study at Conservatorio Nacional de Música y Arte Escénico in Buenos Aires but ended up leaving after a year. He rarely took commissions and preferred to write music without any external influence.

TEXT TRANSCRIPTION Que pena tiene el jardín Que vive tan descuidado Dejando crecer las matas Del vinagrillo morado Que sueno verdecera Su abandonado descuido Que deja crecer el trebol Del invasor atrevido Ay flores del vinagrillo, Del naranja al amarillo Ay vinagrillo morado El jardín descuidado

POETIC TRANSLATION What grief has the garden So carelessly tended to Letting the bushes of the garden grow A dream turning green Left neglected and abandoned Letting the weeds grow Oh vinagrillo flowers From orange to yellow Oh purple vinagrillo Of the forgotten garden

Garrett Wirth

PROGRAM NOTES

SONGS FROM THE GREAT AMERICAN SONGBOOK “For you, for me, for evermore” from The Shocking Miss Pilgrim

Ira Gershwin was tasked with composing music for the show The Shocking Miss Pilgrim. The song was an incomplete melody that George Gershwin wrote before he died, and was added to the show. They decided to use this song for the lasting love and devotion John feels. In the beginning of the show, businessman John Pritchard is doubtful that Cynthia Pilgrim will be a good addition to his company. He starts out upholding traditional gender norms and is opposed to women working with him. Over time, he begins to admire Cynthia’s abilities becoming more openminded as he develops feelings for her. He sings this song to express the emotions he has for Cynthia that he has been repressing. He emphasizes that he will not just love her for a moment, but forevermore.

George and Ira Gershwin (1898-1937 and 1896-1983) Brothers George Gershwin (1898-1937) and Ira Gershwin (1896-1983) composed with each other almost exclusively. Some of their most well-known collaborative compositions are the scores for Strike Up the Band, Of Thee I Sing (1931), and Girl Crazy (1943). George especially received critical acclaim for pieces like Rhapsody in Blue (1924) and An American in Paris (1928).

TEXT TRANSCRIPTION Paradise cannot refuse us, never such a happy pair!

Ev’rybody must excuse us if we walk on air.

All the shadows now will lose us, lucky stars are ev’rywhere.

As a happy being, here’s what I’m foreseeing: For you, for me, for evermore, it’s bound to be for evermore.

It’s plain to see we found by finding each other the love we waited for.

I’m yours, you’re mine, and in our hearts the happy ending starts.

What a lovely world this world will be, with a world of love in store for you, for me, for evermore!

Grant Conroy

Photo: Courtney Colantonio-Ray

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PROGRAM NOTES

“Young at Heart”

The story is simple, it’s about optimism and positivity and suggests that even during life’s inevitable challenges, those who remain young at heart will still find happiness. The song says that physical age doesn’t matter as someone is still able to be open-minded and experience love as long as they remain youthful in their heart. It also shows the importance of resilience, implying that those who never lose their wonder will always be happy.

Johnny Richards (1911-1968) Mexican born composer, Johnny Richards (1911 - 1968) was known most famously for composing Young at Heart.

Johnny Richards was known for his use of harmonies and originally composed the song to be an instrumental piece.

This was changed when Carolyn Liegh later added words, transforming it into the jazz classic it is today. The song was highly popularized after Frank Sinatra recorded his version with the Nelson Riddle Orchestra. The song also inspired a 1954 film similarly titled “Young at Heart”. The film starred Singers Doris Day and Frank Sinatra.

TEXT TRANSCRIPTION Fairytales can come true, it can happen to you if you’re young at heart.

For it’s hard, you will find, to be narrow of mind if you’re young at heart.

You can go to extremes with impossible schemes, you can laugh when your dreams fall apart seams and life gets more exciting with each passing day, and love is either in your heart or on the way.

Don’t you know that it’s worth every treasure on earth to be young at heart.

For, as rich as you are, it’s much better by far to be young at heart.

And if you should survive to a hundred and five, look at all you’ll derive out of being alive, and here is the best part, you have a head start if you are among the very young at heart.

Matt Henderson

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PROGRAM NOTES

“The Very Thought of You” from Victor

Behind “The Very Thought of You” is a profound story about the overwhelming effect love can have on our thoughts and actions. In the song, the narrator expresses the feeling of time slowing down in the absence of their beloved, the eagerness to be united with them, and he compares the presence of their love to the beauty of nature. Though it could seem foolish to some, to the narrator, this love is everything. From the dream-like state it transports us to, the longing and anticipation it builds in us, or the presence of love in every aspect of our lives, the song resonates deeply with anyone who has experienced the magic of love.

Ray Noble (1903-1978) Ray Noble was an English jazz and prominent band musician of the 20th century, Contemporary era, who was a bandleader, composer, arranger, radio host, television and film comedian and actor. Some of his most well-known works include The Very Thought of You in 1934 and Cherokee in 1938. Having moved to New York City in 1934, Ray formed a band with Al Bowlly, Bill Harty, and Glenn Miller, who together had a successful run at the Rainbow Room with Bowlly as principal vocalist. Following the mid-1950s, Noble retired to Santa Barbara, CA, before relocating to Jersey in the Channel Islands during the late 1960s, and later died from cancer at a London hospital in 1978.

TEXT TRANSCRIPTION I don’t need your photograph to keep by my bed.

Your picture is always in my head.

I don’t need your portrait, dear, to call you to mind For sleeping or waking, dear, I find; I hold you responsible, I’ll take it to law, I never have felt like this before.

I’m suing for damages, excuses won’t do.

I’ll only be satisfied with you; The very thought of you, and I forget to do the little ordinary things that everyone ought to do.

I’m living in a kind of daydream, I’m happy as a king, and foolish tho’ it may seem, to me that’s everything.

The mere idea of you, the long here for you, You’ll never know how slow the moments go ‘til I’m near to you.

I see your face in ev’ry flower; your eyes in stars above.

It’s just the thought of you, It’s just the thought of you, my love.

Vincent Lu

PROGRAM NOTES

“And I Love You So”

The song shows the concept of love’s power that brings light into one’s life, even after loneliness and hardship.

The lyrics express gratitude for a deep love that provides comfort and meaning. The gentle melody and sincere storytelling evoke a sense of warmth and timeless devotion, making this song a cherished romantic ballad.

Don Mclean (1945 - Present) American singer-songwriter Don McLean, born in 1945 in New Rochelle, New York, is best known for his timeless hit American Pie. His music blends folk, rock, and pop influences, often characterized by poetic lyrics and heartfelt melodies. And I Love You So is one of his most beloved songs, originally released in 1970 on his debut album Tapestry. Though covered by various artists, including Perry Como and Elvis Presley, McLean’s original version remains a classic, showcasing his signature introspective style.

TEXT TRANSCRIPTION And I love you so And yes, I know how lonely life can be The people ask me how The shadows follow me How I’ve lived ‘til now And the night won’t set me free I tell them, I don’t know But I don’t let the evening get me down I guess they understand Now that you’re around me How lonely life has been But life began again The day you took my hand And you love me, too Your thoughts are just for me You set my spirit free I’m happy that you do The book of life is brief

And yes, I know how loveless life can be The shadows follow me And the night won’t set me free But I don’t let the evening bring me down Now that you’re around me

And once a page is read All but love is dead That is my belief And I love you so The people ask me how How I’ve lived ‘til now I tell them, “I don’t know”

Alec Ortega-Fosado

PROGRAM NOTES

KOREAN "신아리랑" ("Shin Arirang") Libretto by Myung-Moon Yang(1913-1985) 신아리랑 (New-Arirang), a modern retelling of the well-known Korean folk song Arirang, captures the elements of longing, determination, and the elapsing of time. True to the sadness yet hopefulness of the original, Shin Arirang incorporates new verses and melodies that convey not only the suffering of parting but also the resilience of the singers. This version’s vivid imagery of moonlit nights, wilting blooms, and chattering brooks evokes a wistful and melancholic yearning. The language weaves together themes of waiting, sorrow, and seeking solace as the song’s protagonist imagines a serene life that perpetually recedes. The haunting chorus, echoing through generations, is a testament that even in sorrow, there is beauty, and in yearning, there is hope. With each line, the song bridges past and present, bringing the voices of those who long have walked the Arirang road. Its melody surges and ebbs like the wave and retreat of history, sighing loss and determination. Shin Arirang is not a song; it is a living memory, a memory that is ever resounding.

Dong-Jin Kim (1913-2009) Dong Jin Kim was born in 1913 in Korea and died in 2009. He composed Shin Arirang, a modern adaptation of the traditional Korean folk song Arirang. His works contributed to the preservation and evolution of Korean music, blending traditional melodies with contemporary elements.

TEXT TRANSCRIPTION 아리랑 아리랑 아라리요 아리랑 고개로 넘어간다 싸리문 여 잡고 기다리는가 기러긴 달밤을 줄져간다 모란꽃 필적에 정다웁게 만난 이 흰국화 시들듯 시들어도 안오네 서산엔 달 도 지고 홀로 안타 까운데 가슴에 얽힌정 풀어볼 길 없어라 아리랑 아리랑 아라리요 아리랑 고개로 넘어간다 아리랑 아리랑 아라리요 아리랑 고개로 넘어간다 초가집 삼간을 저산밑에 짓고 흐르는 시내처럼 살아 볼까나 아리랑 아리랑 아라리요 아리랑 고개로 넘어간다

POETIC TRANSLATION Arirang, Arirang, Arariyo, Over the Arirang pass I go.

By the swinging gate, do you still wait?

Like wild geese trailing through the moonlit sky.

When peonies bloomed, our hearts entwined, Yet like white chrysanthemums withering, you never return.

The moon fades beyond the western hills, And sorrow lingers in my lonely heart, Bound by longing with no way to break free.

Arirang, Arirang, Arariyo, Over the Arirang pass I go.

Shall I build a cottage beneath the hills, And live like a stream that flows with ease?

Arirang, Arirang, Arariyo,

Yewon Jang

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PROGRAM NOTES

"Kyungsando Arirang" "경상도 아리랑" ("Kyung-sando Arirang") based on “아리랑” ("Arirang") Arranged by Lee Young Jo “Arirang” is one of Korea’s most well-known folk songs, with regional variations throughout the peninsula. Kyungsando Arirang (also spelled Gyeongsang-do Arirang) originates from the southeastern Gyeongsang Province and is distinct for its rhythmic energy and lively melodic contour. Unlike the more melancholic Jeongseon Arirang or Miryang Arirang, the Kyung-sando version often features faster tempos, syncopated rhythms, and a sense of forward momentum. Traditionally sung in pentatonic scales, its melody follows the characteristic sigimsae (ornamental slides and vibratos) that define Korean folk singing.

Lyrically, Kyung-sando Arirang retains the core theme of the Arirang tradition—longing, farewell, and perseverance— but often incorporates regional dialects and idioms. The song reflects the emotions of those traveling through the Arirang Pass, symbolizing both physical and emotional journeys.

Lee Young Jo (1943 - Present) Lee Young Jo (1943-Present) is a South Korean composer who was influenced by both Korean traditional music and Western contemporary composition, and his goal was to preserve Korean folk heritage while incorporating modern harmonic and textural elements. He arranged Kyungsando Arirang to elevate traditional music into the concert repertoire, making it accessible to contemporary audiences. Many of his compositions were commissioned

by Korean cultural institutions in order to preserve traditional sound and lyricism.

TEXT TRANSCRIPTION 아리랑 아라리요 아리랑 고개로 날 넘겨주소 울 넘어 담 넘어 님 숨겨놓고 호박닢만 난들난들 날 속였네 아리랑 아리랑 이라리요 아리랑 고개로 날 넘겨주소 울 넘어 담 넘어 님 숨겨놓고 호박닢만 난들난들 날 속였네 울 넘어 담넘어 님 숨겨놓고 호박닢만 난들난들 날 속였네 아리랑 아리랑 아라리요 아리랑 고개로 날 넘겨주소 아라리요 아리랑 고개로 날 넘겨주소 날 넘겨주소

POETIC TRANSLATION Arirang, Arariyo, Carry me over the Arirang pass.

Beyond the fence, beyond the wall, You hid my love from sight, Yet only the pumpkin leaves Fluttered and swayed, deceiving me.

Arirang, Arariyo, Carry me over the Arirang pass.

Beyond the fence, beyond the wall, You hid my love from sight, Yet only the pumpkin leaves Fluttered and swayed, deceiving me.

Beyond the fence, beyond the wall, You hid my love from sight, Yet only the pumpkin leaves Fluttered and swayed, deceiving me.

Arirang, Arariyo, Carry me over the Arirang pass.

Arariyo— Carry me over the Arirang pass, Carry me away.

Sky Keyoung

PROGRAM NOTES

JAPANESE “Cherry Alley” Librettist: Shuichi Kato

Parts of the song to look out for are the non-strophic verses that convey the swaying emotions of the character.

Another part to take note of is the full cadenza at the peak of the piece. This cadenza is a symbol for the falling sakura petals where the cherry blossoms reside in the alley. When researching this piece, I learned about the librettist Shuichi Kato’s connection to the original poem. The story where young Kato would play in a cherry alley with his friends after school and he sees a beautiful girl there everyday. He starts to have a crush on her and calls her his “flower queen”.

However he had no courage to go up to her, so time passed and he never got to interact with her and regretted it for years. In the music we see this nostalgic moment before the second verse when the composer writes in a new melody for the accompaniment and the singer is talking a mile a minute, like in their imagination they are finally talking with their “flower queen” Yoshinao Nakada (1923-2000) Japanese composer Yoshinao Nakada (1923-2000) can be categorized as a modern composer based on his time period, but through his career, he established himself away from the modern composer title through his stylistic choices. In the song “Sakura Yokocho”, the piece is heavily influenced by the Japanese tonality and the pentatonic scale.

TEXT TRANSCRIPTION Haru no yoi sakura ga sakuto Hana bakari sakura yokocho Omoidasu koi no kino Kimi wa mo koko ni inai to

POETIC TRANSLATION Evening of spring, when the cherry blossoms, Nothing but just the flowers, Sakura Alley Remembering, the days in love Thinking of your absence

Aa itsumo hananojo hohoen da yume no furusato Haru no yoi sakura ga sakuto Hana bakari sakura yokocho

Oh, always, the queen of flowers Smiling face in my dream home Evening of spring, when the cherry blossoms, Nothing but just the flowers, Sakura Alley

Aimiruno tokiwa nakaro “Sonogo do?”

“Shibarakune” to Ittate hajimaranai to Kokoroete Hana demo miyo

I’ll never see you again, It is too late now for us to say ”How have you been” or “I haven’t seen you for long”.

With regarding, I just watch the flowers

Haru no yoi sakura ga sakuto Hana bakari sakura yokocho

Evening of spring, when the cherry blossoms, Nothing but just the flowers, Sakura Alley

Natalia Caraveo

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PROGRAM NOTES

“Hatsukoi”

The source material for the work is taken from a poem written in 1910 by poet Ishikawa Tatukoju. It was the sixth poem appearing in an anthology of Tanka poems titled., “Ichi Aku no Suna”. The poem is composed in the 31-syllable Tanka style, based on the 5, 7, 5, 7, 7 syllable sequence. This was written at the end of the Meiji era and demonstrates a new kind of flexibility in language writing. To me, this song means looking back after a period of growth and feeling nostalgic about lessons learned. The main character is remembering her first love, which can be interpreted as a relationship with another or her younger self.

Tatsunosuke Koshitani (1909 - 1982) The composer Tatsunosuke Koshitani was a Japanese music educator and active composer around Japan. He is famous for other compositions including Playfully, Gently Waving the Willows, and Dream Lullaby.

TEXT TRANSCRIPTION Sunaya ma no suna ni suna ni harabai Hatsukoino itamio To-(o) ku omoi izuru hi Hatsukoino itamio To-(o)kuto(o)ku Omoi izuruhi

POETIC TRANSLATION In the sand Of the sand dunes, Ilie on my front.

A day of distant memory, The pain of first love.

Sunaya ma no suna ni suna ni harabai Hatsukoino itamio To-(o) ku omoi izuru hi

Sunk in the softness of sand dunes, I lie face down.

A day remembering, Recalling from far away, the suffering of first love.

Mona George

MANDARIN "燕子" ("Yanzi")

Yan Zi is a famous Xinjiang Kazakh folk song. The song tells the love story of a young man. The beautiful Kazakh girl Yan Zi fell in love with her lover, but their fate was destined to separate them. The girl waited for her lover to return, but they ultimately could not reunite. This song was sung by the young man watching the flying swallows in the sky when he thought about the girl Yan Zi, expressing his sorrowful, anxious, and longing mood for her.

Zuqiang Wu (1927-2022) Wu Zuqiang from Beijing, is a contemporary Chinese composer. He has served as honorary chairman and vice chairman of the Chinese Musicians Association and vice chairman of the China Federation of Literary and Art Circles.

Wu Zuqiang collaborated with Du Mingxin and others to create ballet music such as “The Fish Beauty” and “The Red Detachment of Women”, and collaborated with Liu Dehai on the pipa concerto “Little Sisters of the Heroic Prairie”.

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PROGRAM NOTES

TEXT TRANSCRIPTION 燕子啊！听我唱个我亲爱的燕子， 亲爱的听我对你说一说燕子啊！ 燕子啊！你的性情愉快亲切又活， 你的微笑好像星星在闪烁。 啊！眉毛弯弯眼睛亮 脖子均均头发长， 是我的姑娘。燕子啊！ 燕子啊！不要忘了您的诺言变了， 你是我的燕子啊！啊！

POETIC TRANSLATION Swallow! Listen to me sing to you, dear Swallow please listen to me!

Swallow! Your temperament is cheerful, friendly and lively, and your smile is like a star twinkling.

Ah! Your curved eyebrows, bright eyes, and long hair. You’re my girl.

Swallow!

Swallow! Don’t forget about your promises, I am yours and you are my Swallow! Ah! Angel Shen

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ORANGE COUNTY SCHOOL OF THE ARTS CLASSICAL VOICE CONSERVATORY

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About the

Classical Voice Conservatory CONSERVATORY OVERVIEW The Classical Voice Conservatory is designed as a college-preparatory program focused on vocal arts, ideal for young singers who are passionate about vocal expression and interested in the world of classical singing. Modeled after wellestablished collegiate programs from across the nation, the curriculum provides the perfect balance of performance, academic music, and industry-related courses. Students are immersed in the fundamental elements of music for both solo and ensemble singing and are introduced to what it takes to be a classical singer in today’s industry. Students benefit from the expertise of the Classical Voice faculty of professionals, most of whom hold a master’s degree in music and/or possess more than 10 years of experience in the professional music industry.

RYAN REITHMEIER, D.M.A. Director

UNIQUE EXPERIENCES The Classical Voice Conservatory has recently launched a partnership with the Metropolitan Opera’s MET Live in Schools initiative, which exposes students in grades 10-12 to MET Live in HD broadcasts, private interviews with MET artists and staff, and access to the MET’s rich online resources. Classical Voice is also unique in that its leadership has access to an advisory committee made up of industry professionals teaching in the collegiate setting. Members include Ann Baltz, leading opera educator; Ken Cazan, Resident Stage Director at USC Thornton Opera; Jonathan Talberg, Director of Choral Activities at the Bob Cole Conservatory; and Jessica Rivera, Grammy Award-winning opera singer. Each year, a limited number of scholarships for private vocal coaching are offered exclusively to Classical Voice students, to supplement their conservatory training.

PAST GUEST ARTISTS AND MASTER TEACHERS Roberta Alexander Ann Baltz Ken Cazan Susan Graham Jake Heggie Brent McMunn Davóne Tines Frederica von Stade Delores Ziegler

Brian Asawa Angela Maria Blasi Rod Gilfry Nathan Gunn Milena Kitic Cheryl Studer Deborah Voigt Dolora Zajick

ABOUT THE DIRECTOR

Dr. Ryan Reithmeier is regarded as a versatile singer/actor who has performed leading baritone roles from a range of genres, including works of Mozart, 20thcentury operas, and musical theatre.

He completed a Doctor of Musical Arts degree in vocal arts and opera at the USC Thornton School of Music with highest honors and was awarded the Opera Award upon graduation. As a baritone soloist, he has nearly 30 roles to his credit. His many concert performances have included roles from: Haydn’s Lord Nelson Mass, The Requiems of Brahms, Fauré and Duruflé, Vaughan Williams’ Five Mystical Songs and Fantasia on a Christmas Carol, Handel’s Messiah, and numerous cantatas of J.S. Bach in addition to Magnificat and Ich habe genug. He has appeared in concert with prestigious organizations including Pacific Symphony, Pacific Opera Project, Corona Symphony, Opera a La Carte, Parnassus Society, St. John’s, Orange Concert Series, Opera San Luis Obispo, and others.

Dr. Reithmeier is a two-time winner of the Beverly Hills National Consortium Auditions, a winner of the NATS-LA Gwendolyn Roberts Auditions, and a Western-Regional finalist in the NATS-Artist Award competition. Before becoming the Director of Orange County School of the Arts’ Classical Voice Conservatory, he served on the vocal faculty at Azusa Pacific University.

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President & CEO Teren Shaffer

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SCHOOL OF APPLIED ARTS Arts & Enterprise Ally Bushman, Director

Principal Michael Ciecek Assistant Principal of Instruction Kimberly Barraza Lyons, Ph.D. Assistant Principal of Student Services Becca Freeland Assistant Principal of Arts Maria Lazarova, D.M.A. Assistant Principal of Student Supervision Abbe Levine Director of Special Services Lauren Reynolds Learning Specialist Shelley Stanphill

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SCHOOL OF MUSIC Classical Voice Ryan Reithmeier, D.M.A., Director Instrumental Music Sarkis Baltaian, D.M.A., Director Pianist Program Strings & Orchestra Program John Reynolds, D.M.A., Director The Garn Family Jazz Studies Program Frederick Fennell Wind Studies Program Nicholaus Yee, D.M.A., Coordinator Strings & Orchestra Program Popular Music Natasha Pasternak, Director SCHOOL OF THEATRE El-Erian Family Acting John Walcutt, Director Donald Amerson, Conservatory Manager Musical Theatre Ryan Miller, Director Amelia Barron, Conservatory Manager Production & Design Kelly Marie Pate, Director

Visual Arts Paige Oden, Director Randy Au, Assistant Director

Thank You to All OCSA Faculty and Staff!

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Officers Jason Herthel, Chair Teren Shaffer, President & CEO Jennifer Sternshein, Secretary Michael Laven, Treasurer Hon. Halim Dhanidina (Ret.), Board of Trustees Representative Jennie Johanson-Maya, Vice Chair, Public Relations & Marketing Eoin L. Kreditor, J.D., Vice Chair, Legacy Giving Kimberley Lakes, Ph.D., Vice Chair, Human Capital Christine Walker-Bowman, Vice Chair, Finance

Julia Argyros John Daniels Sandy Segerstrom Daniels Mohamed El-Erian Brad Ellis, J.D. Maria Newkirk Fong John Gates Carol Green Jerry Mandel Michal Mekjian, Jr. James “Walkie” Ray Judy Sabbagh Susan Samueli, Ph.D. Janice Frey Smith Kate St. Clair Russell Stern John Vestri Scott Woolsey

Members Hon. Halim Dhanidina (Ret.) Vincent Foley, Jr. Jessica Herthel

Directors Lisa Argyros Jim Bergman Lisa Brennan Miaad Bushala Bruce E. Chapman Jim Conroy Julia Feldman Lamia Gabal, M.D. Julie Garn Jason Gwin Gillian Hayes, Ph.D. Steven Ho Martin Howard Michael Le, M.D. Lee Runnels Don Steiner

In Memoriam Paul Folino Doug Garn Sebastian Paul Musco Lew Webb

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SPECIAL RECOGNITION

The OCSA Foundation is a nonprofit organization that is dedicated to providing financial support to the school.

The Foundation accomplishes this through individual contributions (in addition to families’ annual Conservatory Funding Agreements); membership support and social groups, including Encore; corporate sponsorships; special events; foundation grants; legacy giving; capital campaigns; and community engagement programs and classes.

All Foundation gifts and membership contributions provide invaluable support toward important schoolwide initiatives that directly benefit our talented students.

SEASON SPONSORS Thank you to the following 2024-2025 Season Sponsors:

Thank you to the following 2024-2025 President’s Circle members: Armi and Ron Abiera Cheryl Alderson and Charles Dominguez Courtney and James Banaag Autumn and Frank Bignami Alyson and Alfredo Cartagena Kara and Rob Casola Kathy and William Chang Joy Chao and Jason Lee Arpi and Bobby Charlu Julia and Lewis Cho Gretchen and Jim Conroy Michelle and Tim Danaher Neeti and Sandeep Dang Saranya and Halim Dhanidina Malisa and Kanwal Duggal Julia Feldman and Ryan Malone Sally and Dan Fleet Laura Forbes and Mike Huntley Betsy and Luke Freiler Lamia Gabal and Charlie Wilcoxson

Stacy and Jason Gwin Sameena and Ali Habib Allison and Brian Herman Jason and Jessica Herthel Jennie Johanson-Maya and Sal Maya Karen Kim and Spencer Ho Annu Khemka and Maneesh Goyal Cheryl and Michael Laven Debbie and Bonaparte Liu Sherry and Paul Main Greg McCollum and Jeff Van Hoosear Matt and Diana McCutchen Maeesha Merchant and Gaurav Diwan Jessica Miley and Alejandro Brubaker Tita Nguyen and Michael Le Rose Paguirian-Steiner and Don Steiner Allison and Jim Panetta Amy Parekh and Jay Shah Brad Pivar and Rod Escobedo Ami and Rakesh Puvvada

Alexis and Julian Recana Catey and Chris Reese Trilby and Michael Robinson-Dorn Melissa and Jeffrey Ruderman Anna Schlotzhauer and Jim Bergman Jennifer and Brad Smith Karen Smith and Jay Jerrier Mohini and Vip Soni Jeannette and John Soumbasakis Lisa Stevens Wegner and Jed Stevens Rina Stinson Kim and Bert Tavares Mei Tsang and Steve Brown Ivy Wang and Patryk Symchych Courtney and Andrew Wittkop Manuella and Michael Yassa Michelle and Gary Yoshino Sandy and David Young Jinny and Ed Yun List current as of December 2024.

We are proud to support

Orange County School of the Arts Join us.

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Terms and Conditions apply. All Loans subject to credit approval. NMLS #537388. Member FDIC.

SPECIAL RECOGNITION

Thank you to the following 2024-2025 Encore members: Armi and Ron Abiera Acting Conservatory Mom Anonymous Justin Aragon and Laura Boysen-Aragon Ms. Jyothi Atluri The Bailey Family James and Courtney Banaag Edgar and Julie Barajas Team Bignami The Bittel Family Ronald and Dawne Both Lisa and Jack Brennan Christe Bruderlin The Bullock Family Dr. Alyson and Alfredo Cartagena The Casola Family Kathy and William Chang Joy Chao and Jason Lee Arpi and Bobby Charlu Tim and Rita Chen Julia and Lewis Cho Vincent and Karla Chung Cogswell Design Inc. Dr. Gretchen and Mr. James Conroy Kristy Crownover CV Programs The Dale Family Tim and Michelle Danaher Neeti and Sandeep Dang Ramit and Rakhi Dayal The Deutschman Family The Dhanidina Family Joe and Jessica DiPenta DM The Dominguez Family Isabel Dong Kyle and Courtney Duff Malisa and Kanwal Duggal The Elder Family Dr. & Mrs. Gregory and Lisa Endelman The Engle Family Julia Feldman and Ryan Malone Sally and Dan Fleet Laura Forbes and Mike Huntley Luke and Betsy Freiler Lamia Gabal and Charlie Wilcoxson Kim Gangnes Byron and Raquel Gillen The Goodemote Family The Gourley Family

Apra and Rahul Gupta Molly Ortwein Mala and Neeraj Gupta Rosemarie Paguirigan-Steiner and Don Steiner Brandi and Javier Gutierrez Jim and Allison Panetta Jason and Stacy Gwin The Parekh Shah Family Sameena and Ali Habib Oscar and Jessica Parra Aurora He The Passalacqua Family The Herman Family The Pennor Family Jason and Jessica Herthel Peters Architecture Inc. Stacey and Justin Hill The Pivar-Escobedo Family Andy and Gracie Hinton Rakesh and Ami Puvvada Scott Holty and Emilie Albert The Ransford Family Angela Huang Hon. Julian and Alexis Recana Cindy Hughes and Paul Schmidhauser Chris and Catey Reese The Idriss Family Mr. and Mrs. Carlos and Nancy Reyes Ivie-Valle Family - IN This House Love Rules Savalai and Brent Ridley Jenii Jacobson Trilby and Michael Robinson-Dorn Jennie Johanson-Maya and Sal Maya Logan and Carol Ross Angela Kent The Rossfeld Family David and Sara Kerrane Melissa and Jeff Ruderman Andrew and Chinyee Keyoung Anna Schlotzhauer and Jim Bergman Annu Khemka and Maneesh Goyal The Schultz Family Karen Kim and Spencer Ho David and Tina Sidoni Kevin and Kelly Kelley Bandana and Jolly Singh Barbara and Keith Kuntz Brad and Jennifer Smith Jason and Susan Lai Karen Smith and Jay Jerrier Cheryl and Michael Laven Mo and Vip Soni Rosemarie and Michael Le Coz Lisa Stevens Wegner and Jed Wegner My Lee Rina Stinson The Lee Family John and Jeannette Soumbasakis Scott and Susan Lee Patryk Symchych and Ivy Wang The Liu Family Kim and Bert Tavares Debbie and Bonaparte Liu Elliot Tong Kevin and Louise Lloyd The Truong/Kondo Family Mei Tsang and Steve Brown The Ly-Pang Family Reagan Vallejo Jay and Danielle Madison Michael and Nicole Vicioso Molly Mahoney and John Dominguez The Vik Family Paul and Sherry Main The Villanueva Family Foundation Greg McCollum and Jeff Van Hoosear The Vitta Kama Family Matt and Diana McCutchen The Voros Family Paul Mendoza The Weaver Family Maeesha Merchant and Gaurav Diwan Courtney and Andrew Wittkop Val and Larry Miles Parents of David Wong (CW, ‘26) Jessica Miley and Alejandro Brubaker Brenda Wooding and Eric Adler The Mitras Brian Yan’s Family Olga, Geoff, and Avery Mizrahi Michael and Manuella Yassa Moon’s Family Michelle and Gary Yoshino Yvonne Naranjo Drs. Edward and Jinny Yun Tita Nguyen and Michael Le The Zazik Family Niu Family of FTV The Oh Family List current as of December 2024.

The Ortiz Family

SPECIAL RECOGNITION

The goal of Students First: A Capital Campaign is to create an enhanced campus environment that will benefit the entire OCSA community.

Thank you to the following individuals and organizations who have donated in support of this transformational campaign: Acting Conservatory Families, Class of 2025 Anonymous Julia and George Argyros Lisa Argyros Albert and Miaad Bushala The Cha Family Dr. Gretchen and Mr. James Conroy The DeVoe Family DevTo Support Foundation The Dhanidina Family The Dirk Family El-Erian Family Foundation Roberta Estrin Farmers & Merchants Bank The Garn Family The Harold Struck Charitable Fund Shelley and Steven Ho The Larry and Helen Hoag Foundation Martin and Cynthia Howard / Howard CDM Chinyee and Dr. J. Andrew Keyoung N&D Kim Family Tina and Eoin Kreditor / Cleo A Bluth Charitable Foundation Dr. Kimberley Lakes and Dr. James Kay Cheryl and Michael Laven Hsueh Chun Lo The Malone Family Jennifer and Paul Meyhoefer Mrs. Tita Nguyen, Esq. and Dr. Michael Le Ryan and Jin O’Grady The Park Family Debbie and Joe Rogoff Samueli Foundation Anna Schlotzhauer and Jim Bergman Karen Smith and Jay Jerrier The Sternshein Family The Tioleco-Cheng Malabarba Family Ryan and Nicole Warne-McGraw The Wegner Family Michelle and Gary Yoshino

List current as of November 2024.

MAKE YOURSELF HEARD

WHEREVER THE FUTURE TAKES YOU

© 2025 Yamaha Corporation of America. All rights reserved.

GET INVOLVED!

If you are interested in supporting the OCSA Foundation, please reach out to Vice President of Development Elizabeth Ton at elizabeth.ton@ocsarts.net or visit www.ocsarts.net/DonateNow.

Special Thanks To Our Families

Thank you to all of our OCSA families who have contributed this year through the Conservatory Funding Agreement (CFA) in support of their child’s arts conservatory experience.

Your contributions specifically support conservatory salaries, facilities, equipment and supplies, performance opportunities, guest artist master teachers, and field trips.

We can’t make the OCSA magic happen without you!

OPPORTUNITIES TO INSPIRE, IMPACT, AND INVEST IN THE NEXT GENERATION OF ARTIST-SCHOLARS CREATE ENRICHING OPPORTUNITIES The Hearts for the Arts campaign provides additional support for arts conservatory needs beyond each conservatory’s annual budget. Donations help to fund special equipment and supplies, performances, field trips, and other arts enrichment opportunities for our talented OCSA students.

HELP STUDENTS IN NEED The Artist Scholar Sponsorship Program supports economically disadvantaged students who attend OCSA. Donations help to fund the arts conservatory portion of their school day and ensure they have access to the full OCSA experience, including yearbooks, technology, school supplies, and more.

PROVIDE GUEST ARTIST EXPERIENCES The Master Artist Series supports high-profile visiting artists who create meaningful experiences for our student artists. Donations help to bring master artists and industry leaders to OCSA’s campus to share their career stories and expertise with students through residencies, master classes, lectures, and performances.

READY TO GET INVOLVED? To learn more about these important campaigns or give today, please visit www.ocsarts.net/Give.

We would love to talk with you about how you can support OCSA’s talented students!

Please contact Anna Belmer Jackson, Director of Individual Giving, at anna.jackson@ocsarts.net.

THANK YOU FOR YOUR SUPPORT!

ENJOY CSARTS CSARTS ACADEMY, ACADEMY, ENJOY ALL YEAR YEAR LONG! LONG! ALL CSArts Academy offers extracurricular arts courses to student artists of various ages from throughout the community.

Join us for fun and rewarding classes in the fall, spring, or summer!

FALL SATURDAY SERIES Classes begin September 21, 2024 Registration opens in late August

Ages

5-15

SPRING SATURDAY SERIES Classes begin February 22, 2025 Registration opens in January SUMMER CAMPS & INTENSIVES Classes begin July 7, 2025 Registration opens in January

To learn more, visit academy.csarts.net.

1010 N. Main Street, Santa Ana, CA 92701 | 714.560.0900 ext. 4000 | academy@csarts.net

SOCIAL MEMBERSHIP GROUP Take advantage of exciting benefits and exclusive opportunities!

Meet and socialize with other OCSA families from all conservatories!

Become part of a fun, close-knit community while supporting OCSA’s talented students!

AND MORE!

LET’S GET

SOCIAL!

See membership levels online for complete details.

All OCSA families are encouraged to pledge the requested amount toward their child’s Conservatory Funding Agreement prior to joining Encore.

SCAN QR CODE FOR MORE INFO!

YOUR MEMBERSHIP WILL MAKE A DIFFERENCE!

To learn more or join today, visit www.ocsarts.net/JoinEncore.

SPONSORSHIP

2024-2025

BECOME A

SPONSOR!

Promote your business at a specific conservatory performance or throughout the entire conservatory season! Hear your company’s name announced from the stage, promote your brand to a loyal target audience, and receive complimentary tickets! $2,500 PER CONSERVATORY PERFORMANCE SEASON

$1,000 PER SPECIFIC CONSERVATORY PERFORMANCE

BENEFITS • Recognition in conservatory-specific promotional materials and communications

BENEFITS • Recognition in conservatory-specific promotional materials and communications

•

Customized speech from the stage at select performances in your conservatory’s season*

•

Customized speech from the stage at your selected conservatory performance*

•

Two (2) complimentary tickets to each performance** in your conservatory’s season

•

Two (2) complimentary tickets to your selected conservatory performance**

•

Recognition on OCSA’s Digital Donor Wall in the Tower Lobby, Center for the Arts Lobby, and DMS Lobby

•

Recognition on OCSA’s Digital Donor Wall in the Tower Lobby, Center for the Arts Lobby, and DMS Lobby

PROCEEDS WILL DIRECTLY SUPPORT THE CONSERVATORY OF YOUR CHOICE!

To view a list of upcoming performances, please visit www.ocsarts.net/BoxOffice. *Also applicable to conservatory-specific events. **Some exclusions may apply, including special events and performances at outside venues.

Support from businesses directly impacts the transformational education and creative opportunities provided for our students.

Current OCSA Families: Please note that donations from businesses to this campaign cannot be allocated toward your Conservatory Funding Agreement (CFA). All OCSA families are encouraged to contribute the requested amount toward their child’s conservatory through the CFA prior to supporting other OCSA initiatives.

To secure your Spotlight Sponsorship, please contact Greg McCollum, Director of Corporate & Business Relations, at gregory.mccollum@ocsarts.net or 714.560.0900 ext. 6616

BRING OCSA TO YOU Book our inspiring students for your next event!

Orange County School of the Arts (OCSA) proudly offers a wide range of professional-level performance groups comprised of inspiring student artists from the school’s many arts conservatories. Make your private, corporate, or charity function more special by featuring a select group of OCSA’s bright and talented students!

Our extensive variety of repertoire is completely customizable.

Choose the group that best meets the needs of your event and budget!

Ballet folklórico dancers Ballroom dancers Classical singers Commercial dancers Instrumental musicians MONTAGE! performance ambassadors

CATERING SERVICES We cater to your needs! Let our talented high school students and their world-class chef instructors make your gathering an event to remember.

Learn more at www.ocsarts.net/Catering.

CHECK OUT OUR SIZZLE REEL! www.ocsarts.net/BringOCSAToYou Visit www.ocsarts.net/BringOCSAToYou to request entertainment or contact BringOCSAToYou@ocsarts.net or 714.560.0900 ext. 6810 for assistance.

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WHAT IS KIWIN’S?

CNH KIWIN’S (California, Nevada, Haiwaii), similar to its KEY CLUB counterparts, is an student-led club that stretches among multiple schools, including OCSA. This club promotes a sense of community and allows students easy access to various COMMUNITY SERVICE events. Students can learn to strengthen skills such as LEADERSHIP, collaborating with others, and can learn the significance of supporting your community. This looks great on COLLEGE APPLICATIONS, especially since joining this club can open up opportunities for SCHOLARSHIPS, AWARDS, and NETWORKING.

One of CNH KIWIN’S major focuses/service events puts emphasis on students promoting education and literacy, focused on youth, ages 5-9. This is just one of the many community service opportunities strengthening students’ connection with their area.

MORE INFORMATION AT HTTPS://WWW.KIWINS.ORG/ FOR QUESTIONS, CONTACT b.rodas@ocsarts.net OR FOLLOW @OCSAKIWINS ON INSTAGRAM

zoey.zien@ocsarts.net

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