This concert is part of e 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.
ACADEMICS + Arts
#1 BEST CHARTER HIGH SCHOOL IN CALIFORNIA Niche, 2025
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
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)
COLLEGE SUCCESS
Emphasizes fundamental operational skills, computational fluency, and problem-solving abilities
Integrates Algebra, Geometry, and Statistics to prepare students for both traditional and Integrated Math courses
Topics beyond our curriculum scope, such as Algebra 2, Trigonometry, or Calculus, are covered under our Homework Support program
HOMEWORK SUPPORT
Ideal for students needing assistance with homework, struggling with specific concepts, or preparing for tests
Offers support for higher-level Mathematics and AP courses
Sessions are student-driven, structured towards specific needs, and focus on the material students bring for support
Dependent on teacher availability and subject matter
Enhances reading fluency, higher-order analysis skills, and overall comprehension
Prioritizes development of advanced critical thinking skills to cultivate confident, proficient readers
Expands knowledge of vocabulary and word meanings
STUDY SKILLS
Enhances academic habits through goal setting, organizational skills, time management, and effective test-taking strategies
Strengthens active reading, listening, outlining, note-taking (including the Cornell method), and study techniques
Tailored for middle to high school demands
Provides extensive customizability to meet individual student needs effectively
Develops the five-step writing process and various writing techniques that make writing assignments more manageable
Stengthens fundamental language skills (grammar, punctuation, capitalization, and spelling) that make writing clear and accurate
Provides experience with various essay types: narrative, informative, persuasive, and research
SAT/ACT PREP
Provides teacher-led in-depth instruction on application of best practices, key reasoning skills and test-taking strategies
Access to two student workbooks (Math, English) which provide instruction on test concepts and features, homework, and mixed review practice
Access to SylvanPrep.com, an individualized online component, for one full year
Access to multiple full length practice tests which mimic the conditions of a real test
*SylvanPrep.com can be used as a standalone self-led program (Sylvan Prep Online) *Sylvan Insight Assessment is required for enrollment*
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 George Gershwin Grant Conroy (1898-1937)
“Young at Heart” 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 Don Mclean Alec Ortega-Fosado (1945-Present)
KOREAN
"신아리랑" ("Shin Arirang") Dong-Jin Kim Yewon Jang (1913-2009)
"경상도 아리랑" ("Kyungsando Arirang")
Lee Young Jo Sky Keyoung
JAPANESE
“Cherry Alley” Yoshinao Nakada
Natalia Caraveo (1923-2000)
“Hatsukoi” Tatsunosuke Koshitani
Mona George (1909 - 1982)
MANDARIN
“燕子” ("Yanzi") Zuqiang Wu
Angel Shen (1911-2007)
***
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
TREATMENT OF BODY IMAGE & EATING DISORDERS
Nurturing, Healing & Resilience
Compassionate, specialized medical evaluation and management of eating disorders and body image concerns for kids, teens and young adults.
O erings:
Medical evaluation and management of eating disorders
Body image curriculum
Parent education presentations
Body image workshop for adults
Contact:
Usha Ganesan, MD 949.229.5964 17541 Irvine Blvd, Suite E, Tustin, CA 92780
“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
“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.
“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.
Taylor Pham
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
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!”
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.
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.
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 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.
And courtly lords and ladies
Were most grievously plagued, Queen and maid-in-waiting
Paxton Wong
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
“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.
Lal Besir
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.
“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...”
Nikki Smith
Eliza Tait
“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.
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.
Jack Wilson
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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.
“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
Ella Mortensen
Garrett Wirth
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
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“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.
Mat t Henderson
“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
“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
The people ask me how
How I’ve lived ‘til now
I tell them, I don’t know
And yes, I know how lonely life can be
The shadows follow me
And the night won’t set me free
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
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
The book of life is brief 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
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
"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.
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
Aa itsumo hananojo
hohoen da yume no furusato
Haru no yoi sakura ga sakuto
Hana bakari sakura yokocho
Aimiruno tokiwa nakaro
“Sonogo do?”
“Shibarakune” to Ittate hajimaranai to Kokoroete Hana demo miyo
Haru no yoi sakura ga sakuto
Hana bakari sakura yokocho
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
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
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
Evening of spring, when the cherry blossoms,
Nothing but just the flowers, Sakura Alley
Natalia Caraveo
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“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
Sunaya ma no suna ni suna ni harabai
Hatsukoino itamio To-(o) ku omoi izuru hi
POETIC TRANSLATION
In the sand Of the sand dunes, Ilie on my front.
A day of distant memory, The pain of first love.
Sunk in the softness of sand dunes, I lie face down.
A day remembering, Recalling from far away, the suffering of first love.
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”.
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!
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ORANGE COUNTY SCHOOL OF THE ARTS
The Murdy Foundation Concerts Season Announcement 2024-2025
MOZART’S LE NOZZE DI FIGARO
CLASSICAL VOICE CONSERVATORY CHORAL
CONCERT SEASON
October 8
December 12
March 5
May 2
ORIGINAL STORY BY ROBERT NORMAN
December 6 & 7
CLASSICAL VOICE
VOCAL FORUM
MONTHLY RECITAL AND MASTER CLASS SERIES:
FEATURING CLASSES WITH
• DR. MARC CALLAHAN (CHAPMAN)
• DR. JONI PRADO (CSUF)
• MICHELLE GORDON (SPEECH AND LANGUAGE PATHOLOGIST)
• ALISON ENGLAND
• AMONG OTHERS
PUCCINI’S MADAMA BUTTERFLY
PARTNERSHIP WITH PARNASSUS SOCIETY
March 1
PERFORMING IN FOUR DIFFERENT VENUES:
28
25 April 22 April 25
THE DIRK FAMILY VOICE LESSON SCHOLARSHIP PROGRAM
TUITION-FREE VOICE LESSONS, MASTER AND STUDIO CLASSES.
INSTRUCTORS
• ALYSSA WILLS
• ROBERT NORMAN
MICHAEL F. HARRAH SYMPHONY HALL, KATHY AND GARY CONRAD CHORAL ROOM, NEW SONG CHURCH, AND SOKA PERFORMING ARTS CENTER TICKET INFORMATION: BOXOFFICE.OCSARTS.NET
ORANGE COUNTY SCHOOL OF THE ARTS
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 Brian Asawa
Ann Baltz Angela Maria Blasi
Ken Cazan Rod Gilfry
Susan Graham Nathan Gunn
Jake Heggie Milena Kitic
Brent McMunn Cheryl Studer
Davóne Tines Deborah Voigt
Frederica von Stade Dolora Zajick
Delores Ziegler
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.
SCHOOL, FOUNDATION & CONSERVATORY LEADERSHIP
SCHOOL
President & CEO
Teren Shaffer
Chief Operations Officer
Gregory Endelman, Ed.D.
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
FOUNDATION
Vice President of Communications
Kelly Andrews
Vice President of Development
Elizabeth Ton
CONSERVATORY
Director of Productions
Eric Hamme
SCHOOL OF APPLIED ARTS
Arts & Enterprise
Ally Bushman, Director
Mekjian Family Culinary Arts & Hospitality
Daniel Mattos, Chef Director
SCHOOL OF DANCE
Ballet & Contemporary Dance
Steven B. Hyde, Director
Ballet Folklórico Dance
Marlene Peña-Marin, Director
Ballroom Dance
Robert Porch, Director
Commercial Dance
Nicole Berger, Director
SCHOOL OF FINE & MEDIA ARTS
Creative Writing
Joshua Wood, Director
Martin & Cynthia Howard
Design & Media
Patrick Williams, Director
Film & Television
Aaron Orullian, Director
Integrated Arts
Charna Lopez, Director
Cassandra Foster, Conservatory Manager
Visual Arts
Paige Oden, Director
Randy Au, Assistant Director
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
BOARD OF TRUSTEES
Officers
Paul Satkin, Chair
Gary Humphreys, Secretary
Members
Hon. Halim Dhanidina (Ret.)
Vincent Foley, Jr.
Jessica Herthel
FOUNDATION BOARD OF DIRECTORS
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
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
EMERITUS BOARD
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
In Memoriam
Paul Folino
Doug Garn
Sebastian Paul Musco
Lew Webb
Pendry Newport Beach is proud to be a sponsor of the Orange County School of the Arts.
Contemporary Luxury
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 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
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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
Thank you to the following 2024-2025 Season Sponsors:
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
Mala and Neeraj Gupta
Brandi and Javier Gutierrez
Jason and Stacy Gwin
Sameena and Ali Habib
Aurora He
The Herman Family
Jason and Jessica Herthel
Stacey and Justin Hill
Andy and Gracie Hinton
Scott Holty and Emilie Albert
Angela Huang
Cindy Hughes and Paul Schmidhauser
The Idriss Family
Ivie-Valle Family - IN This House Love Rules
Jenii Jacobson
Jennie Johanson-Maya and Sal Maya
Angela Kent
David and Sara Kerrane
Andrew and Chinyee Keyoung
Annu Khemka and Maneesh Goyal
Karen Kim and Spencer Ho
Kevin and Kelly Kelley
Barbara and Keith Kuntz
Jason and Susan Lai
Cheryl and Michael Laven
Rosemarie and Michael Le Coz
My Lee
The Lee Family
Scott and Susan Lee
The Liu Family
Debbie and Bonaparte Liu
Kevin and Louise Lloyd
The Ly-Pang Family
Jay and Danielle Madison
Molly Mahoney and John Dominguez
Paul and Sherry Main
Greg McCollum and Jeff Van Hoosear
Matt and Diana McCutchen
Paul Mendoza
Maeesha Merchant and Gaurav Diwan
Val and Larry Miles
Jessica Miley and Alejandro Brubaker
The Mitras
Olga, Geoff, and Avery Mizrahi
Moon’s Family
Yvonne Naranjo
Tita Nguyen and Michael Le
Niu Family of FTV
The Oh Family
The Ortiz Family
Molly Ortwein
Rosemarie Paguirigan-Steiner and Don Steiner
Jim and Allison Panetta
The Parekh Shah Family
Oscar and Jessica Parra
The Passalacqua Family
The Pennor Family
Peters Architecture Inc.
The Pivar-Escobedo Family
Rakesh and Ami Puvvada
The Ransford Family
Hon. Julian and Alexis Recana
Chris and Catey Reese
Mr. and Mrs. Carlos and Nancy Reyes
Savalai and Brent Ridley
Trilby and Michael Robinson-Dorn
Logan and Carol Ross
The Rossfeld Family
Melissa and Jeff Ruderman
Anna Schlotzhauer and Jim Bergman
The Schultz Family
David and Tina Sidoni
Bandana and Jolly Singh
Brad and Jennifer Smith
Karen Smith and Jay Jerrier
Mo and Vip Soni
Lisa Stevens Wegner and Jed Wegner
Rina Stinson
John and Jeannette Soumbasakis
Patryk Symchych and Ivy Wang
Kim and Bert Tavares
Elliot Tong
The Truong/Kondo Family
Mei Tsang and Steve Brown
Reagan Vallejo
Michael and Nicole Vicioso
The Vik Family
The Villanueva Family Foundation
The Vitta Kama Family
The Voros Family
The Weaver Family
Courtney and Andrew Wittkop
Parents of David Wong (CW, ‘26)
Brenda Wooding and Eric Adler
Brian Yan’s Family
Michael and Manuella Yassa
Michelle and Gary Yoshino
Drs. Edward and Jinny Yun
The Zazik Family
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
WHEREVER THE FUTURE TAKES YOU
MAKE YOURSELF HEARD
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!
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.
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
SPRING SATURDAY SERIES
FALL SATURDAY SERIES SPRING
SPRING
Classes begin February 22, 2025
Registration opens in January
Classes begin July 7, 2025
Registration opens in January
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
BENEFITS
•Recognition in conservatory-specific promotional materials and communications
•Customized speech from the stage at select performances in your conservatory’s season*
•Two (2) complimentary tickets to each performance** in your conservatory’s season
•Recognition on OCSA’s Digital Donor Wall in the Tower Lobby, Center for the Arts Lobby, and DMS Lobby
$1,000 PER SPECIFIC CONSERVATORY PERFORMANCE
BENEFITS
•Recognition in conservatory-specific promotional materials and communications
•Customized speech from the stage at your selected conservatory performance*
•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
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
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.
Are you or someone you love struggling to overcome obstacles, achieve balance, or lead a more fulfilling life?
South Coast Psychiatry can help
Our highly accomplished psychiatrists provide personalized, comprehensive and compassionate care to adolescents and adults.
We work with our patients to treat emotional issues, identify and address academic challenges, overcome performance obstacles, and work to enhance positive coping strategies and improve resilience.
With a convenient and upscale location next to South Coast Plaza, and telehealth services available, getting the best possible care has never been easier.
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Our Services:
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BEACH CLEAN-UP
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.
ZOEY ZIEN, CA&H ‘27 CLUB PRESIDENT zoey.zien@ocsarts.net
“CHILDREN: THEIR FUTURE, OUR FOCUS, LIVE2LEARN”
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.
✓ Low teacher:child ratios
✓ Child-centered, emergent, engaging curriculum
✓ Inclusive & integrated learning environments
✓ Strong image of the child
✓ Highly trained teaching team
Currently serving children ages 3 to 5 years old
PROGRAM OFFERINGS
California State Preschool
•Reduced family fees for qualifying families
•Part-Day Program Sites:
•Commonwealth Elementary
•Hermosa Drive Elementary
•Maple Elementary School
•Orangethorpe Elementary
•Pacific Drive Elementary
•Woodcrest Elementary
•Full-Day/Full-Year Program Sites:
•Richman Elementary
•Valencia Park Elementary
Fee-Based Preschool
•Part-Day Program Sites:
•Beechwood Elementary
•Sunset Lane Elementary
•Full-Day Program Site:
•Sunset Lane Elementary
Fullerton School District
Educational Services
Preschool Program
714-447-7499
https://www.fullertonsd.org/preschool
Fullerton School District 2025 - 2026
Dual Language Academy
Great Schools, Successful Kids
Accepting Intents to register TK through 8th grade
Spanish and English Dual Immersion 90/10 Model
Korean and English Dual Immersion 50/50 Model Read, write, and communicate effectively
Science, Technology, Engineering, Art, and Math (STEAM) 21st Century Learning Skills, Cross-cultural competencies
FOR MORE INFORMATION: 714-447-7416 / FULLERTON_DLA@MYFSD.ORG OR VISIT: FULLERTONSD.ORG/PAGE/2468
