Advanced Vocal Workshop with guest artist Mark Robson, piano
mark robson, piano kerry jennings, director featuring works by mendelssohn, britten, strauss, gershwin and more
8PM | THURSDAY, OCTOBER 30, 2025
CPAC 110 RECITAL HALL
RONALD S. ROCHON
President, California State University, Fullerton
AMIR H. DABIRIAN
Provost and VP for Academic Affairs
ARNOLD HOLLAND, EDD
Dean, College of the Arts
DR. RANDALL GOLDBERG Director, School of Music
KIMO FURUMOTO
Assistant Director, School of Music
BONGSHIN KO
Assistant Director, School of Music
SCHOOL OF MUSIC FULL-TIME FACULTY AND STAFF
FACULTY
CONDUCTING
Kimo Furumoto instrumental
Dr. Robert Istad choral
Dr. Christopher Peterson choral
Dr. Dustin Barr instrumental
JAZZ AND COMMERCIAL MUSIC
Bill Cunliffe jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director
Rodolfo Zuñiga* jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director
PIANO, ORGAN, PIANO PEDAGOGY
Bill Cunliffe jazz piano
Alison Edwards* piano, piano pedagogy, class piano
Dr. Robert Watson piano
MUSIC EDUCATION, TEACHER TRAINING, AND TEACHING CREDENTIAL
Dr. Christopher Peterson choral
Dr. Gregory X. Whitmore* instrumental
MUSIC IN GENERAL EDUCATION
Dr. John Koegel*
Dr. Katherine Reed
MUSIC HISTORY AND LITERATURE
Dr. Vivianne Asturizaga musicology
Dr. John Koegel* musicology
Dr. Katherine Reed musicology
STRINGS
Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor
Bongshin Ko cello
Dr. Ernest Salem* violin
THEORY AND COMPOSITION
Dr. Hesam Abedini composition, theory
Dr. Pamela Madsen composition, theory
Dr. Ken Walicki* composition, theory
VOCAL, CHORAL, AND OPERA
Dr. Robert Istad* Director of Choral Studies and University Singers conductor
Dr. Kerry Jennings* Director of Opera
Dr. Christopher Peterson CSUF Concert Choir and Singing Titans conductor
Dr. Joni Y. Prado* voice, academic voice courses
Dr. Bri’Ann Wright general education
WOODWINDS, BRASS, AND PERCUSSION
Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis* flute
Sycil Mathai* trumpet
Ken McGrath* percussion
Dr. Gregory X. Whitmore
University Symphonic Winds conductor
Michael Yoshimi* clarinet
STAFF
Michael August Production Manager
Eric Dries Music Librarian
Gretchen Estes-Parker Office Coordinator
Will Lemley Audio Technician
Jeff Lewis Audio Engineer
Chris Searight Musical Instrument Services
Paul Shirts Administrative Assistant
Elizabeth Williams Business Manager
* Denotes area coordinator
Welcome to the Fall 2025 performing and visual arts season at Cal State Fullerton’s College of the Arts. Each new semester, our campus comes to life with the energy and creativity of thousands of arts students eager to share their unique visions. Whether you’re returning to our venues or here for the first time, we are so excited to present another season to you. Thank you for joining us.
On October 12, the School of Music presents the interdisciplinary performance “Shakespeare in Sound,” featuring the University Symphonic Winds along with vocal and theatre students. Later in the semester, “Here’s Johnny!: Celebrating 100 Years of Johnny Carson” swings its way onto the stage with a program of jazzy favorites on November 16. More toe tapping is in order when the Department of Theatre and Dance presents their fall musical “9 to 5,” based on the hit 1980 film and featuring the music of Dolly Parton. To close the season, “Fall Dance Theatre: Tethered” returns to the Hallberg Theatre with a fully interactive stage set for our dancers and choreographers to explore.
If you haven’t yet visited the College of the Arts Galleries, join us for the October 4 opening reception for the exhibitions Soo Kim: “(Charlie sings in the quietest voice)” and Carol Caroompas: “Mystical Unions.” Kim is known for her intricately cut and layered photographic work while trailblazing alumna Caroompas is widely recognized for her layered visual narratives. Don’t forget to stop by our student galleries while you’re there!
There are so many exhibitions, concerts, and performances to experience across the college this season, but they wouldn’t be possible without you – our extended Titan community. In every class, every rehearsal and with every hour spent in the studio, our students are pushing creative boundaries, but they need your support to thrive. The Dean’s Fund for Excellence provides arts students with necessary funds for scholarships, off-campus opportunities, and so much more. Help transform their potential into possibility by making a gift of any amount to the Dean’s Fund for Excellence today.
Thank you for joining us for this performance. Our students are ready to make the Fall 2025 season unforgettable, and we are so proud to share their artistry with you.
Baoyu‘s aria: I’ve never dared to tell you Bright Sheng (Dream of the Red Chamber)
Hart Chen, tenor
Tit for Tat (Tit for Tat, no. 5)....................................................... Benjamin Britten
Adrien Redford, baritone
Nanetta’s aria: Sul fil d’un soffio etesio (Falstaff) ........................ Giuseppe Verdi
Benjee Benjelloun, soprano (with Chorus of Fairies)
Die Lorelei................................................................................. Clara Schumann
Evan Banks, tenor
PROGRAM
The Lorelei (Pardon My English) ..............................................
George Gershwin
Anthony Alcain, tenor
Rusalka’s Song to the Moon (Rusalka) ....................................... Antonín Dvořák
Sophia Khurana, soprano
Peter Quint’s aria: Miles!….I’m all things Benjamin Britten strange and bold (The Turn of the Screw)
Yngwie Zamarippa, tenor
Der Feuerreiter (Mörike-Lieder, 41)
Tim Cervenka, baritone
Die Nacht, op. 10, no. 3 ............................................................
Topher Esguerra, tenor
Hugo Wolf
Richard Strauss
Le Manoir de Rosemonde .............................................................. Henri Duparc
Amber Napoli, soprano
In questa tomba oscura, WoO 133 ................................ Ludwig van Beethoven
Joshua Evans, tenor
Witch’s Ride (Hänsel und Gretel) ................................... Engelbert Humperdinck
Rachel Williams, mezzo-soprano
Galop: Ce bal est original (Orphée aux Enfers) ................... Jacques Offenbach
Tutti
PROGRAM NOTES
Hexenlied (Hölty)
FELIX MENDELSSOHN
Swallows are flying, Spring’s triumphant, Dispensing flowers for wreaths! Soon we’ll flit Quietly outside, And fly to the splendid dance!
A black goat, A broomstick, The furnace rake, the distaff Whisk us on our way, Like lightning and wind, Through whistling gales to the Brocken!
Our coven dances Round Beelzebub And kisses his claw-like hands! A ghostly throng Seizes our arms, Waving firebrands as they dance!
And Beelzebub Pledges the throng Of dancers gift after gift: They shall be dressed In beautiful silk And dig themselves pots full of gold!
A fiery dragon
Flies round the roof And brings us butter and eggs: The neighbors catch sight Of the flying sparks, And cross themselves for fear of the fire.
Swallows are flying, Spring’s triumphant, Flowers are blooming for wreaths. Soon we’ll flit
Quietly outside –Tally-ho to the splendid dance! Translation by Richard Stokes
Is My Team Ploughing (Housman)
RALPH VAUGHAN WILLIAMS
“Is My Team Ploughing” is the third piece in Ralph Vaughan Williams’ song cycle, On Wenlock Edge. The cycle sets poems from A.E. Housman’s poetry collection, A Shropshire Lad. The poetry in this piece is a dialogue between a spirit, who is asking after the elements of his past life, and the spirit’s living friend, who acts as witness to a life that continues. Life has indeed continued after the spirit has passed over, almost unchanged from when he still lived. And the friend seems to have stepped in to fill the void left in the spirit’s absence.
Dalle stanze ove Lucia (from Lucia di Lammermoor) GAETANO DONIZETTI
From the rooms where Lucia was treating her husband, A moan, a cry came as of a man close to death!
I ran quickly within those walls... Ah! terrible misfortune!
Arturo lay stretched out on the ground, mute, cold, bloody! And Lucia clutched the steel, which had once belonged to the murdered man! She fixed her eyes on me: “Where is my husband?” She said to me, and on her pale face, a smile flashed! Unhappy! The virtue of her mind is lacking, she, ah!
PROGRAM NOTES
Ah! May that right hand, impure with blood call no lyre from heaven upon us. She fixed her eyes on me, and clutched the steel, clutched the steel!
Anna’s aria: Se come voi piccina (from Le Villi)
GIACOMO PUCCINI
If I were small like you, oh, pretty flowers, always, always I could remain near to my beloved.
Then I would like to tell him:
“I am thinking always of you!” I could tell him again and again: “Do not forget me!” You who are more hap py than I, you will accompany him, oh flower: over hill and vale you will accompany my be loved.
Ah, if your name does not lie, Ah! say again to my beloved: “Do not forget me!”
Nebbie (Negri) OTTORINO RESPIGHI
coldness. Respighi’s setting intensifies this mood through the slow, lamenting vocal line that suggests both hopelessness and yearning.
I suffer. Far, far away the sleeping mists rise from the silent plain.
Shrilling cawing, the crows, trusting their black wings cross the heath grimly.
To the raw weathering of the air the sorrowful tree trunks offer, praying, their bare branches.
How cold am I! I am alone; driven through the gray sky a wail of extinction flies;
And repeats to me: come, the valley is dark. Oh sad, oh unloved one, Come! Come!
*Translation by Thomas A. Gregg
Baoyu’s Aria: I’ve Never Dared to (from Dream of the Red Chamber)
BRIGHT SHEN
Nebbie (“Mists”) is a haunting art song composed by Ottorino Respighi in 1906, set to a poem by Italian writer Ada Negri. The song sets a bleak, fog-filled landscape that mirrors the poet’s inner desolation and longing. As thick mists rise from the silent plain and as crows caw through the barren heaths, the speaker feels trapped in loneliness and spiritual
“Baoyu’s Aria” is an excerpt from the opera Dream of the Red Chamber. Dream of the Red Chamber is an English-language opera in two acts composed by Chinese American composer Bright Sheng, with libretto by Sheng and David Henry Hwang. Based on the classic 18th-century Chinese novel of the same name by Cao Xueqin, the three-hour English-language opera had its world
premiere on September 10, 2016, by the San Francisco Opera.
In this aria, Baoyu is devastated that he cannot marry the love of his life because his family disapproves of the relationship. Determined to take control of his fate, he resolves to become a man and confront his family.
Tit for Tat (Walter de la Mare) BENJAMIN BRITTEN
Britten’s song serves as a short cautionary tale told to a poacher, named Tom Noddy, where the narrator imagines a reality in which the hunter becomes the hunted.
Nanetta’s Aria: Sul fil d’un soffio etesio (from Falstaff) GIUSEPPE VERDI
Nannetta’s aria, “Sul fil d’un soffio etesio,” from Verdi’s opera Falstaff, is a lyrical and whimsical piece where she, disguised as the Queen of the Fairies, sings about nature and love. The aria portrays youthful innocence and charm, with delicate, soaring melodies that represent a gentle spring breeze, and its ethereal lyrics are about the purity of her love for Fenton.
THE QUEEN OF THE FAIRIES
On the edge of a breath of ethesis
Scroll, agile larvae; Among the branches a cesium glow of lunar dawn appeared. Dance on! and the bland pace Measure a bland sound. The magic coupled Carole to the canzon.
THE FAIRIES
The forest sleeps and loses incense and shadow; e par In the thick air a green Asylum at the bottom of the sea.
THE QUEEN OF THE FAIRIES
Wandering under the moon Choosing blooming flowers, Each corolla in core Brings his fortune. With lilies and violets, writing of arcane names, from the enchanted hands
Germoglino words, Illuminated words Of pure silver and d’or, Meats and malie. The fairies have the flowers in numbers.
THE FATES as they go picking Moviam flowers one by one Under the lunar albor, Towards the brown oak Of the black Cacciator.
Die Lorelei (Heine) CLARA SCHUMANN
I do not know what it means That I should feel so sad; There is a tale from olden times I cannot get out of my mind.
The air is cool, and twilight falls, And the Rhine flows quietly by; The summit of the mountains glitters In the evening sun.
The fairest maiden is sitting In wondrous beauty up there, Her golden jewels are sparkling, She combs her golden hair. She combs it with a golden comb
And sings a song the while; It has an awe-inspiring, Powerful melody.
PROGRAM NOTES
It seizes the boatman in his skiff With wildly aching pain; He does not see the rocky reefs, He only looks up to the heights.
I think at last the waves swallow The boatman and his boat; And that, with her singing, The Loreley has done.
*Translations by Richard Stokes
The Lorelei (from Pardon My English)
GEORGE GERSHWIN
George Gershwin’s “The Lorelei” is a clever, jazzy, cabaret song from his 1933 musical Pardon My English, with lyrics by his brother Ira. In this playful number, Gershwin gives a modern twist to the old German legend of the Lorelei, a siren who lures sailors to their doom. Instead of tragedy, though, we get humor, charm, and that unmistakable Gershwin flair. With its catchy rhythms, witty lyrics, and sly sense of fun, “The Lorelei” shows off Gershwin’s gift for blending classical style with the sparkle of American popular music.
Song to the Moon (from Rusalka)
ANTONÍN DVOŘÁK
Moon high and deep in the sky
Your light travels far, You travel around the wide world, and see into people’s homes.
Moon, stand still a little while and tell me where is my dear. Tell him, silvery moon, that I am embracing him.
For at last momentarily
Let him recall dreaming of me. Illuminate him from far away and tell him, tell him who is waiting for him.
If his human soul is really dreaming of me, may the memory awaken him! Moon, don’t disappear, don’t disappear!
Moon, don’t disappear!
Peter Quint’s Aria: Miles!...I’m All Things Strange and Bold (from The Turn of the Screw) BENJAMIN BRITTEN
This aria is from Benjamin Britten’s opera, The Turn of the Screw. Known for being a disturbing work and a horror story with genuine chills, it is based on Henry James’ novel of the same name. An old-fashioned ghost story that touches on issues of a very disturbing nature, the aria is part of a scene called “Variation VII- At night,” which features the Governess hearing footsteps and seeing a figure in the distance. The figure is Peter Quint, formerly a valet at Bly Manor and who is now deceased. Quint calls out to Miles, tempting him from his bed with exotic and desirable visions. This captivates Miles. The whole scene is a pivotal moment in the opera where the Governess realizes the danger she and the children are in.
PROGRAM NOTES
Der Feuerreiter (Möricke)
HUGO WOLF
“Der Feuerreiter” comes from the first of Hugo Wolf’s five books of Lieder. In this volume of songs, Mörikelieder, Wolf wrote songs exclusively using the poetry of Eduard Mörike (18041875), and he wrote each of the fifty-three songs in this book between February and October of 1888. Wolf composed with a philosophy of only attempting to set a piece of poetry to music that none of his predecessors had done a job better than he believed he could do. Mörike wrote “Der Feuerreiter” during the Romantic era of German literature, which often grappled with man’s will to have dominion over the forces of nature.
The poem “Der Feuerreiter” is a ballad that tells of a mysterious figure moving about town where a sudden catastrophic fire has overtaken the mill. The man, who rides a bonethin horse and is referred to as the “Fire-rider,” departs armed only with a crucifix to subdue the hellish blaze. After much turmoil, the mill collapses from the damage and the fire-rider disappears with it. It is much later when a mill worker finds a skeleton, alongside the iconic red cap and horse of the Fire-rider, in the cellar of the destroyed mill. The skeletal remains then ominously collapse into ash.
For he’s pacing to and fro. And all of a sudden, what a throng At the bridge, heading for the fields! Listen to the fire-bell shrilling: Behind the hill, Behind the hill The mill’s on fire!
Look, there he gallops frenziedly Through the gate, the fire-rider, Straddling his skinny mount
Like a fireman’s ladder!
Through thick smoke and heat
He rides and has reached his goal! The distant bell peals on and on:
Behind the hill, Behind the hill
The mill’s on fire!
You who have often
From many miles away, And blasphemously conjured
With a fragment of the True Cross – Look out! there, grinning at you f rom the rafters, Is the Devil amid the flames of hell. God have mercy on your soul! Behind the hill, Behind the hill
He’s raging in the mill!
In less than an hour
See, at the window There, his red cap again? Something must be wrong,
The mill collapsed in rubble; But from that hour the bold rider Was never seen again.
Thronging crowds and carriages Turn back home from all the horror; And the bell stops ringing too:
PROGRAM NOTES
Behind the hill, Behind the hill
A fire! –
Some time after a miller found A skeleton, complete with cap, Upright against the cellar wall, Mounted on the fleshless mare: Fire-rider, how coldly You ride in your grave! Hush! Now it flakes into ash.
Rest in peace, Rest in peace Down there in the mill!
*Translation by Richard Stokes
Die Nacht (Von Gilm) RICHARD STRAUSS
Night steps from the woods, Slips softly from the trees, Gazes about her in a wide arc, Now beware!
All the lights of this world, All the flowers, all the colours She extinguishes and steals the sheaves From the field.
She takes all that is fair, Takes the silver from the stream, Takes from the cathedral’s copper roof The gold.
The bush stands plundered: Draw closer, soul to soul, Ah the night, I fear, will steal You too from me.
*Translation by Richard Stokes
Le Manoir de Rosemonde (Bonnières) HENRI DUPARC
With sudden and ravenous tooth, Love like a dog has bitten me. By following the blood I’ve shedCome, you’ll be able to follow my trail.
Take a horse of fine breeding, Set out, and follow my arduous course By quagmire or by hidden path, If the chase does not weary you. Passing by where I have passed, You will see that, solitary and wounded, I have traversed this sorry world,
And that thus I went off to die Far, far away, without ever finding The blue manor of Rosamonde.
*Translation by Richard Stokes
In questa tomba oscura (Carpani) LUDWIG VAN BEETHOVEN
In this dark tomb Leave me to rest; When I was living, ungrateful wretch, You should have given me a thought.
At least let the ethereal spirits Relish their peace And no, do not bathe my ashes With innocuous poison.
The Witch’s Ride (from Hänsel und Gretel) ENGELBERT HUMPERDINCK
Yes, little Gretel, you will be my little roast! Look, look! Look how clever! You shall soon go into the oven,
PROGRAM NOTES
And check on the gingerbread! Once you are in, slam! Goes the door!
Then is fine little Gretel. My little roast! The little roast that shall change into cake With sugar and almonds! In the magic oven mine, you will become a fine gingerbread! Look, look how clever!
Hi hi, hi hi, hi hi, hi hi hi hi hi hi!
Hurr hopp hopp hopp! Gallop lopp lopp! My broomstick nag, not be lazy!
Just as I like, by broad daylight I jump hither and across the house wen no one is awwake, to the witches’ feast Out the chimney!
From five and six, so says the witch! Make seven and eight, so it is done! And nine is one, And ten is none, And much is nothing, So says the witch!
Thus she rides until early morn!
Brr! Broomstick, hey!
Galop: Ce bal est original (from Orpheus in the Underworld) JACQUES OFFENBACH
The “Galop infernal,” or the Can-can, is a musical finale from Offenbach’s operetta Orpheus in the Underworld. The operetta is a satirical and comical version of the Orpheus myth where the gods on a holiday trip to the underworld find Eurydice has been taken by Pluto and is bored there. In the end, a shocked Orpheus is forced by Public Opinion to rescue her, but Jupiter causes him to look back, and Eurydice is lost forever. The music’s famous, highenergy finale represents the wild party in the underworld and is a far cry from the original myth’s tragic ending.
ABOUT THE PIANIST
Mark Robson is equally comfortable in styles ranging from early music played on the harpsichord and organ to the great Romantic repertoire and beyond to contemporary piano works demanding theatrical participation from the performer. As a collaborative artist with singers and instrumentalists, he commands the respect of his peers in both the recital and chamber settings. He presents an annual recital for the L.A. series Piano Spheres and has performed for Jacaranda on numerous occasions. As an organist, he has also appeared as a soloist in the Minimalist Jukebox at Disney Hall and has performed on the organ in Mahler’s 8th Symphony at the Hollywood Bowl in their 2008 season.
After completing conservatory and university training, Robson amplified his musical studies with extensive study in Paris—where he was a pupil of Yvonne Loriod, widow of composer Olivier Messiaen— and through his work as an assistant conductor and assistant chorus master for the Los Angeles Opera. During this time, he worked with renowned international singers and conductors, gaining great insight into the lyric art. He has also been a musical assistant at the Salzburg and Spoleto (Italy) festivals.
As a composer, Robson has been programmed on concerts in Los Angeles, New York, Chicago, Barcelona and Paris. The BrentwoodWestwood Symphony Orchestra has premiered two of his orchestral works, Apollo Rising and Christmas Suite. Soprano Patricia Prunty has recorded his song cycle A Child of Air and the same piece was presented by Sari Gruber at the winter Ravinia Festival.
The recipient of several scholarships and awards (including the Certificate of Excellence from the Corvina Cultural Circle for artistic contributions to Hungary), Robson has received degrees from the University of Southern California and Oberlin College. He has worked as a vocal coach for the faculties of USC, Chapman University, the California Institute of the Arts, and Cal State Fullerton. Among his formidable musical projects has been the performance in eight concerts of the complete piano sonatas of Beethoven and numerous performances of Messiaen’s massive cycle, Vingt Regards sur l’Enfant-Jésus.
ABOUT THE DIRECTOR
Dr. Kerry Jennings is Professor of Opera Studies at Cal State Fullerton. His stage direction has recently been recognized by The American Prize and the National Opera Association, most recently with a 2nd Place Award for a scene from Così fan tutte with students from the CSUF Opera Theatre. Additional directorial credits encompass works from Monteverdi to composers of the 21st Century. Internationally, he has directed productions of Die Zauberflöte in both Austria and Italy, as well as Le nozze di Figaro, Die Fledermaus, and I for the International Lyric Academy in Vicenza, Italy. Jennings’ performance highlights included over forty lead and supporting roles comprised of early, standard, and contemporary repertoire in the United States and abroad. As a concert soloist, he has been heard in works by J.S. Bach, Beethoven, Händel, Haydn, Mozart, Puccini, Saint-Saëns, Rachmaninoff, Vaughan Williams, Britten, Fonseco, Orff, Rorem, and others.
Noted for his “beautiful voice, great diction, and uncanny sense of style and phrasing,” Kerry’s recording In My Memory: American Songs and Song Cycles on Centaur Records was met with acclaim from both the composers and critics alike and features works by Libby Larsen, Tom Cipullo, Lori Laitman, and Richard Pearson Thomas. Libby Larsen has called Kerry’s recording of her cycle My Àntonia “the definitive reference performance for future performances.” He is also featured on David Arbury’s CD Alchemy and as tenor soloist on the Houston Camerata’s recording of Fonseca’s Missa Afro-Brasileira. He is currently working on his second solo disc of American Song Cycles which will feature a new work by Tom Cipullo. Jennings was a District Winner and Regional Finalist in the Metropolitan Opera National Council Auditions.
Jennings is a member of several music organizations, including NATS, Opera America, The Recording Academy, The College Music Society, and NOA, where he is on his fourth cycle as a member of the Dominick Argento Chamber Opera Competition Committee.
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ELEANORE P. & JAMES L. MONROE
LYNN & ROBERT MYERS
MR. BOB & MRS. TERRI NICCUM
DWIGHT RICHARD ODLE*
SHERRY & DR. GORDON PAINE
*deceased
DR. JUNE POLLAK
& MR. GEORGE POLLAK*
DR. STEPHEN M. ROCHFORD
MR. STAN MARK RYAN ‘75
MARY K. & WILLIAM SAMPSON
LORENA SIKORSKI
DOUGLAS G. STEWART
ANDREA J. & JEFFREY E. SWARD
RICHARD J. TAYLOR
VERNE WAGNER
RICHARD WULFF
DR. JAMES D. & DOTTIE YOUNG*
The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER SUPPORT GROUPS
ALLIANCE FOR THE PERFORMING ARTS: The Alliance for the Performing Arts (formerly MAMM) benefits performing arts students through underwriting visiting artists; special theatre, dance, and music performances; and other unique experiences for members.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Judy Atwell
Drs. Voiza & Joe Arnold
Dr. Margaret Faulwell Gordon
Susan Hallman
Norma Morris Richard Odle Estate
Kerry & John Phelps
Jeanie Stockwell Verne Wagner
ART ALLIANCE: Art Alliance promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Fay Colmar
John DeLoof
Joann Driggers & Steve Collier
Loraine Walkington
MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Marilyn Carlson
Evelyn K. Francuz
Sandy & Norm Johnson
Marti & Bill Kurschat
Karen & George Mast
Thelma & Earl Mellott
Bettina Murphy
Grace & Ujinobu Niwa
Kerry & John Phelps
Mary & Jerry Reinhart
Ann & Thad Sandford
Dodo V. Standring
Carolyn & Tom Toby
John Van Wey
MORE INFORMATION: Haley Sanford • 657-278-2663
There are many ways to support the College of the Arts, the School of Music, Department of Theatre and Dance, and Department of Visual Arts
shape the future of the arts
The College of the Arts at Cal State Fullerton is one of the largest comprehensive arts campuses in the CSU system. We proudly serve as an academic institution of regional focus with national impact that combines rigorous arts training with cross-disciplinary exploration to encourage the artistic expression and individual achievement of thousands of students throughout the arts every day.
Our students’ success increasingly depends on the support of our community. More of our students are facing significant challenges to their ability to continue their education. Be part of the solution! We invite you to support the Dean’s Fund for Excellence. Help provide students with the education, the tools, and the opportunities to succeed both on campus and off.
Empower our students to become the successful creative professionals our economy so desperately needs! Consider making a gift of any amount to the Dean’s Fund for Excellence today.
COLLEGE OF THE ARTS • SELECT EVENTS | FALL 2025
*Molly Pease, mezzo-soprano, with David Bergstedt, piano
September 19 • Meng Concert Hall
Simon Shiao, violin
October 2 • Meng Concert Hall
Soo Kim: (Charlie sings in the quietest voice) and Carole Caroompas: Mystical Unions
October 4, 2025 – May 17, 2026 College of the Arts Galleries
University Symphony Orchestra
October 4 • Meng Concert Hall
University Wind Symphony & Alumni Band: Alchemy of Sound
October 5 • Meng Concert Hall
Caroline Chin, violin
October 9 • Meng Concert Hall
Men on Boats
October 9–18 • Hallberg Theatre
9 to 5: The Musical
October 23–November 1 • Little Theatre
Shakespeare in Sound feat. the University Symphonic Winds
October 12 • Meng Concert Hall
University Singers and Concert Choir
October 19 • Meng Concert Hall
Fullerton Jazz Orchestra and Fullerton Jazz Chamber Ensemble
October 24 • Meng Concert Hall
Dr. Garik Pedersen, piano
October 25 • Meng Concert Hall
Advanced Vocal Workshop with Mark Robson, piano
October 30 • Meng Concert Hall
Ernest Salem, violin & Alison Edwards, piano
November 1 • Meng Concert Hall
Irina Kulikova, guitar
November 4 • Meng Concert Hall
The House of the Spirits
November 6–15 • Young Theatre
Mackenzie Melemed, piano
November 9 • Meng Concert Hall
Opera Scenes
November 14–16 • Recital Hall
Fullerton Pops in Here’s Johnny: A Tribute to Johnny Carson feat. University Symphony Orchestra and Fullerton Jazz Orchestra
November 16 • Meng Concert Hall
Jazz Singers
November 19 • Meng Concert Hall
Cello Choir
November 19 • Recital Hall
University Symphonic Winds
November 21 • Meng Concert Hall
Fall Dance Theatre: “Tethered”
December 4–13 • Hallberg Theatre
Fullerton Jazz Orchestra
December 5 • Meng Concert Hall
University Wind Symphony
December 7 • Meng Concert Hall
Titan Voices and Singing Titans
December 8 • Meng Concert Hall
Fullerton Jazz Chamber Ensemble and Fullerton Latin Ensemble
December 9 • Meng Concert Hall
University Band
December 10 • Meng Concert Hall
Deck the Hall at Cal State Fullerton! December 13, 14 • Meng Concert Hall
