Katia Kim, Tosca
Bruce Sledge, Cavaradossi
Nmon Ford, Scarpia
Mattia Venni, Angelotti
Ryan Reithmeier, Sacristan
Robert Norman, Spoletta
Kyle Xu, Sciarrone
Kelly Kuo, Conductor
Parnassus Virtuosi Orchestra
Puccini Chorus of Orange County
School of the Arts Classical Voice Conservatory
Robert Norman and Lisa Iwaki, Co-Directors
Dr. Ryan Reithmeier, Director of the Classical Voice Conservatory
Wesley Martin, Chorus Director
by Mark Lamanna, Stage Director
Why Tosca? In a world where daily life can carry its share of stress and uncertainty, why are we presenting Tosca now?
I believe that peace is not “the absence of pain,” but rather “the presence of love and joy underneath any and all circumstances we must face.” I believe that joy is worth bringing out whenever possible.
In Tosca, the chief of police, Scarpia, represents the power of authority and control. His decisions and actions carry with them the weight of the law and the armed subordinates under his command.
The artist Cavaradossi represents all who are passionate— lovers of life, full of light. He is a human being standing alone against forces much larger than himself, forces under the direction of Scarpia’s plot to destroy him.
Then we have Floria Tosca, a deeply spiritual artist. Scarpia wants Tosca for himself—he wants to control her entirely. She loves God, her art, and her man. It is easy to identify with her: she is the one who feels the emotional weight of what Scarpia is doing and must face him directly, struggling to save her lover’s life and her own soul.
We have all felt moments of vulnerability like Cavaradossi. We have all encountered forces that feel like Scarpia. And we are all Tosca, fighting for love.
Inside us live the words she sings in Act II, the stunning “Vissi d’arte,” which translates to this: “I lived for art. I lived for love. I never harmed a living soul. With a furtive hand, how many miseries I helped. Always with sincere faith my prayer to the
holy tabernacles rose. Always with sincere faith I gave flowers to the altars. In my hour of sorrow, why, why, Lord, why do you reward me thus? I gave flowers to the mantle and I gave song to the stars, to the sky, who smiled more beautifully at us. In my hour of sorrow, why, why, Lord? Ah, why do you reward me thus?”
In this aria, Tosca is not giving up. She is reminding herself— and us—of the strength needed to keep going, to keep standing up for love.
by Mark Lamanna, Stage Director
Set in Rome during the Napoleonic wars, Tosca is a drama of political intrigue, obsessive power, and doomed love. The story unfolds over the course of only twenty-four hours. Love collides with tyranny and every choice carries devastating consequences.For this staged concert, we’re setting “Tosca” in 1950 – giving “celebrated singer” Floria Tosca a touch of both Maria Callas and Sophia Loren.
ACT I: In a grand Roman church, painter Mario Cavaradossi secretly shelters escaped political prisoner Angelotti. Mario’s lover, singer Floria Tosca, arrives to tell him their plans for that evening after her onstage performance. Tosca is passionate, religious, and prone to jealousy. She immediately suspects that another woman has captured Mario’s attention. Scarpia, Rome’s sadistic Chief of Police, is hunting Angelotti and suspects Mario aided his escape. Calculating and cruel, Scarpia lusts after Tosca and plots to destroy her lover and arrest the prisoner. By manipulating Tosca’s jealousy, Scarpia sets a trap that tightens around them all.
ACT II: In his palace chambers, Scarpia interrogates Mario. Tosca listens in anguish as her lover is tortured. Unable to endure his suffering, and desperate to save his life, she gives in to Scarpia and reveals Angelotti’s hiding place. With Angelotti dead and Mario now condemned to death, Scarpia offers Tosca a cruel bargain: submit to him in exchange for Mario’s life. Tosca agrees and Scarpia sets up a simulated execution (with an empty gun) that will spare Mario. As Scarpia signs papers giving Tosca and Mario passage out of Rome, Tosca picks up a knife and kills him.
ACT III: At sunrise atop Castel Sant’Angelo, Mario awaits execution. Tosca assures Mario that the guns are empty. She tells him to drop immediately when he hears the shot fired. They dream of a future together. But Scarpia has betrayed them. As soldiers return to arrest her for murder, Tosca refuses capture and leaps from the fortress walls to her death, choosing freedom over submission.
Katia Kim, soprano
Katia Kim is an American dramatic soprano of Russian origin whose voice and artistry span continents and centuries of repertoire. Known for the power and emotional depth of her performances, she brings to life the great heroines of opera with a rare combination of vocal strength, lyrical sensitivity, and commanding stage presence.
Katia began her vocal studies at the Samara State Academy of Culture and Arts in Russia, where she also performed as a soloist with the Samara Philharmonic Orchestra, the Orchestra of Folk Instruments, and the Ensemble of Early Music. Early engagements at the Samara State Opera and Ballet Theater gave her stage experience both in the chorus and as a soloist for the company’s outreach program.
Her international debut came in 2008 when she was invited to perform the soprano solo in Haydn’s Die Schöpfung with the orchestra and chorus of Martinskirche in
Sindelfingen, Germany, to glowing reviews. That same year, she moved to the United States to pursue a Master’s Degree in Voice Performance at Texas Christian University. There, she sang Pamina (Die Zauberflöte), Queen Erisbe (L’Ormindo), and was named a winner of the TCU Concerto Competition. She also placed in NATS and the Metropolitan Opera National Council Regional Auditions and participated in a masterclass with the legendary mezzosoprano Marilyn Horne.
Further graduate work at Temple University’s Opera Program in Philadelphia brought her into roles such as Fiordiligi (Così fan tutte), Concepción (L’heure espagnole), and soprano soloist in Verdi’s Requiem. She studied in a masterclass with tenor Matthew Polenzani and won Temple’s Concerto Competition. Following this, she reprised the role of Fiordiligi with the Martina Performance program in New York City under the baton of Maestro Steven White.
Katia’s career has since taken her across the United States, Europe, and Asia. Notable performances include Donna Elvira (Don Giovanni), Mařenka (The Bartered Bride), and Tatiana (Eugene Onegin) with the North Czech Philharmonic as part of the Beethoven Festival — where she received the prestigious Beethoven Award. She also appeared in the world premiere of Paul Robeson by Adolphus Hailstork with Trilogy: An Opera Company in Newark, NJ, and performed the soprano solo in Verdi’s Requiem at the iconic Crystal Cathedral in California. She then spent a year in Lithuania, performing at the Kaunas State Musical Theatre in a New Year’s Gala and Spanish Zarzuela program, and took part in the summer festival Land of Disobedient as a featured soloist in an international ensemble in Nida.
Katia performs in a diverse array of languages — including Russian, Italian, German, Czech, Korean, Lithuanian, and English — bringing cultural richness and versatility to her repertoire. In addition to her signature roles, she is recognized for
her versatility in the operatic canon and contemporary works alike.
Katia recently toured with environmental-themed recital programs alongside pianist Mikhail Berestnev and the Emerge Coalition. She then performed with the Chopin Society of Texas, followed by her debut in the title role of Rusalka with Opera Arlington. Subsequent highlights include soprano solo appearances in Britten’s War Requiem with the Yale Symphony Orchestra and Verdi’s Requiem with the Fairbanks Symphony in Alaska. The season’s pinnacle was her Italian debut as Leonora in Il Trovatore in Orvieto. These landmark roles and performances define Katia’s dynamic and vibrant recent season.
She has been a finalist in the Lois Alba Competition and won second prize at the NOA Dominic Argento and Carolyn Bailey Competition. Recent appearances also include performances with the Biola University Symphony Orchestra and a masterclass with acclaimed opera coach John Fisher in New York City.
Katia’s upcoming season will see her return to the stage as Nedda in Pagliacci with Amarillo Opera, continuing to enchant audiences with her powerful voice and heartfelt artistry.
Ms. Kim is represented by Kathy Olsen of Encompass Arts.
Cavaradossi
Bruce Sledge, tenor
“The clarion-voiced, impressive” (New York Times) Lirico Spinto tenor Bruce Sledge has been praised for his “bright, attractive sound and superb technical skills” that he has shared with audiences at major opera houses around the world over his career spanning more than two decades.
In 2025, Mr. Sledge sang the title role in Verdi’s Don Carlo with the Boston Youth Symphony Orchestra. He also returned to the Metropolitan Opera to cover Cavaradossi in Puccini’s Tosca and performed in Puccini’s Madame Butterfly with the Parnassus Society at Soka Performing Arts Center.
Last season, Sledge was involved in projects at the Metropolitan Opera including covering the title role in Wagner’s Lohengrin and the role of Sergei in Shostakovich’s Lady Macbeth of Mzinsk.
In previous seasons, Mr. Sledge’s engagements included performing as tenor soloist in the Verdi Requiem with Seattle Symphony, a reprisal of the role of Paolo Erisso in Rossini’s Maometto Secondo with Washington Concert Opera, and his role debut as Don José in Opera Colorado’s Carmen. He also returned to the Metropolitan Opera covering the title role in Die Meistersinger von Nürnberg and Bacchus in Ariadne auf Naxos. He was the tenor soloist in The Parnassus Society’s annual operatic concert at Soka University.
In the 2019–20 season, Sledge made his role debut as Pinkerton in Madama Butterfly in a Metropolitan Opera “Live in HD” transmission seen live by over 350,000 viewers in over 70 countries worldwide. He was also seen at UCLA’s Royce Hall as a tenor soloist in Rachel Fuller’s Animal Requiem.
In recent seasons, Sledge returned to the Deutsche Oper Berlin for performances of Jean in Le Prophète and to the Welsh National Opera as Lorenzo in The Merchant of Venice and Macduff in Macbeth. He was praised by Opera Wire for his “dramatic versatility” for his portrayal of Bacchus in the Santa Fe Opera’s Ariadne auf Naxos, and Opera Canada raved that his “radiant, voluminous tenor and ease with language” as Lord Riccardo Percy in Anna Bolena with the Canadian Opera Company was “spot-on.”
A regular roster member of the Metropolitan Opera, Sledge made his debut as Almaviva in Rossini’s Il Barbiere di Siviglia, followed by performances as Ferrando in Mozart’s Così fan tutte, Tamino in Mozart’s The Magic Flute, Don Ottavio in Mozart’s Don Giovanni, and King of Naples in Thomas Adès’s The Tempest.
Sledge counts among his career highlights singing the role of the Duke of Mantua in Rigoletto with companies including Vancouver Opera, Boston Lyric Opera, Tulsa Opera and in Avenches, Switzerland;
Paolo Erisso in Rossini’s Maometto Secondo with the Canadian Opera Company and Santa Fe Opera; Leicester in Maria Stuarda with the Minnesota Opera, Welsh National Opera and Swedish National Opera; Count Almaviva in Il Barbiere di Siviglia with the Hamburgische Staatsoper and Tulsa Opera; Leicester in Elisabetta, regina d’Inghilterra with the Rossini Opera Festival; and Ernesto in Don Pasquale at the Deutsche Oper in Berlin, Teatro Regio di Torino, Teatro Comunale di Bologna and New York City Opera. He performed the role of the Italian Tenor in Der Rosenkavalier at the Lyric Opera of Chicago; Léopold in La Juive at La Fenice; Alfredo in La Traviata at the Royal Danish Opera; Ferrando in Così Fan Tutte at the Pittsburgh Opera; and as Tonio in La Fille du Régiment on the Teatro Comunale di Bologna’s tour to Savonlinna. As Vladimir Vladimirescu and the Fisherman in the double-bill of Mozart’s The Impresario and Stravinsky’s Rossignol at Santa Fe, Sledge “sang with appealing lyricism” and “performed to glorious poetic effect” (Opera News).
As a concert soloist, Sledge has performed in The Defiant Requiem in Asheville, NC and Vienna, Verdi’s Messa da Requiem with the Spoleto USA Festival and the Radio Television Ireland Orchestra in Dublin, Mendelssohn’s Elijah with the National Symphony, Schubert’s Mass No. 6 with the San Diego Symphony, Beethoven’s Missa Solemnis with the Berkeley Symphony, and he has sung with the Risca Male Choir in Wales and Opera
Companies of Tampa, Atlanta and Hong Kong. Several appearances with the San Francisco Symphony have included Mozart’s Requiem, Stravinsky’s Pulcinella, and singing as the Shepherd in Oedipus Rex and soloist in Schubert’s Mass No. 6 under Maestro Michael Tilson Thomas. With the Gulbenkian Foundation in Lisbon, he has performed concerts of Bartók’s Cantata Profana and Kodály’s Psalmus Hungaricus, and sang Brahms’ Liebeslieder Walzer with the New York City Ballet. Sledge appeared in recital at Carnegie’s Weill Hall in celebration of Marilyn Horne’s 75th Birthday.
Bruce Sledge recorded the role of the Fox in Spanish and Catalan versions of Janáček’s The Cunning Little Vixen for the BBC with Kent Nagano, has been seen on the NBC sitcom Scrubs, and can be heard on the soundtrack of the motion picture The Sum of All Fears.
Sledge was a finalist in the 2002 World Voice Masters Competition in Monte Carlo, a finalist in Plácido Domingo’s Operalia 2000 World Opera Contest, and a national finalist in the 2000 Loren L. Zachary Vocal Competition. In 1998, he was a Western Regional Finalist in the Metropolitan Opera Auditions and was awarded first place in the Los Angeles Chapter of the National Association of Teachers of Singing (NATS) Competition. Bruce Sledge received his master’s degree in
Pasquale at the Deutsche Oper in Berlin, Teatro Regio di Torino, Teatro Comunale di Bologna and
vocal arts from the University of Southern California. In 2024 Mr. Sledge returns to the Metropolitan Opera roster for Madam Butterfly, and the Chicago Lyric roster for Fidelio. In 2025 Mr. Sledge will sing the title role in Verdi’s Don Carlo with the Boston Youth Symphony Orchestra.
Nmon Ford, baritone
Panamanian-American baritone
Nmon Ford begins a new artistic chapter as the composer, librettist, and title-role performer of House of Orfeus, which was scheduled for its world premiere at London’s Young Vic Theatre (postponed due to Covid-19). The show will be presented by Lincoln Center in an upcoming season, with further dates at the Young Vic to
to be announced. Nmon has enjoyed success in increasingly challenging and dramatic repertoire, most recently appearing as Le Spectre in Thomas’ Hamlet with Cincinnati Symphony, before which he debuted the role of Sharpless in a new Matthew Ozawa production of Madama Butterfly at Cincinnati Opera and Detroit Opera, Jesus in Bach’s St. Matthew Passion with the Atlanta Symphony under the baton of Nathalie Stutzmann, and Haydn’s Creation with the Ft. Worth Symphony under conductor Robert Spano.
Nmon made his role and company debut as Crown in the English National Opera/Metropolitan Opera co-production of Porgy and Bess, preceded by a gala opera concert with the Atlanta Symphony Orchestra in excerpts from Aïda (Amonasro), his role and festival debut at Lincoln Center’s Mostly Mozart Festival as The Celebrant in Leonard Bernstein’s MASS, Iago (Otello) with the Atlanta Symphony, Jochanaan (Salome) at Pittsburgh Opera, and the Celebrant (MASS) at Salzburg’s Grosses
Festspielhaus with the Salzburg Mozarteumorchester. He appeared with the Dallas Symphony in Vaughn Williams’ Sea Symphony, Chicago Opera Theater in the title role of a new production of Ernest Bloch’s Macbeth, Atlanta Symphony at Carnegie Hall (Brahms’ Requiem), St. Louis Symphony (Carmina Burana), and Milwaukee Symphony (Brahms’ Requiem). After performing Mahler’s Lieder
eines fahrenden Gesellen with Orchestre National des Pays de la Loire (ONPL) conducted by John Axelrod, Nmon was immediately reengaged by the ONPL for Mahler’s Kindertotenlieder and Fauré’s Requiem.
Nmon’s Italian debut occurred at Ancona’s Teatro delle Muse in the title role of a new production of The Emperor Jones directed by Henning Brockhaus and conducted by Bruno Bartoletti (for which he received the Premio Franco Corelli for the outstanding debut of the season), his company debut with Cincinnati Opera as Riolobo in Francesca Zambello’s production of Florencia en el Amazonas, and his role debut as The Traveler in a new production of Death In Venice at Hamburg State Opera. He appeared with Michigan Opera Theater as Zurga in Zandra Rhodes’ production of Les pêcheurs de perles, Teatro Comunale di Bologna in the title role of Pier Luigi Pizzi’s production of Don Giovanni, and the Szeged Open-Air Festival in Hungary as Escamillo (Carmen). Nmon gave his first performances at Italy’s Sferisterio Festival in new productions of Attila and Juditha Triumphans, preceded by Don Giovanni in Ancona. He debuted the roles of di Luna (Il trovatore) with Virginia Opera and Thoas (Iphigénie en Tauride) with Hamburg State Opera, and bowed as Mendelssohn’s Elijah at Washington National Cathedral with the Cathedral Choral Society conducted by J. Reilly Lewis.
In previous seasons Nmon sang both Scarpia (Tosca) and the title role in a new production of Billy Budd with Hamburg Opera; with the Atlanta Symphony conducted by Robert Spano he recorded Jennifer Higdon’s Dooryard Bloom (written for him) and Vaughan Williams’ Serenade to Music for Telarc. He made his Ravinia Festival debut with James Conlon conducting the Chicago Symphony in Shostakovich’s Symphony #13 (“Babi Yar”), which he also performed with Maestro Conlon and the Los Angeles Philharmonic at Walt Disney Concert Hall. Additional engagements include Carmina Burana with the Pittsburgh Symphony, and covering the role of Amfortas with Los Angeles Opera in Robert Wilson’s production of Parsifal starring Plácido Domingo and conducted by Kent Nagano. He received critical acclaim at Spoleto Festival USA as the title role in Don Giovanni, in a production by Günter Krämer conducted by Emmanuel Villaume.
Having begun his musical training in piano at age three, Nmon has since appeared with--in addition to the previously mentioned companies-San Francisco Opera, Teatro Sociale di Rovigo, Utah Opera, Portland Opera, and Opera Memphis in roles such as Iago (Otello), Kurwenal (Tristan und Isolde), Renato (Un ballo in maschera), Amonasro (Aïda), Germont (La traviata), and the High Priest (Samson et Dalila). Other roles include Telramund (Lohengrin), Posa (Don Carlo), and Carlo (Ernani).
Nmon has worked with conductors Louis Langrée, James Conlon, EsaPekka Salonen, Leonard Slatkin, Robert Spano, Bruno Bartoletti, Kent Nagano, Marin Alsop, Emmanuel Villaume, John Wilson, John Adams, and Simone Young. His concert appearances include the New York and Los Angeles Philharmonics, Chicago Symphony, Boston Symphony, Philadelphia Orchestra, St. Louis Symphony, Atlanta Symphony, Pittsburgh Symphony, National Symphony, BBC Symphony, BBC Scottish Symphony Orchestra, Handel and Haydn Society (Boston, MA), and Orchestra of St. Luke’s. He made his New York recital debut under the auspices of the Marilyn Horne Foundation.
In addition to his Grammy-winning Naxos and Telarc releases, Nmon has recorded for Universal Music Group/Decca (Vai DaCapo - Songs of Delight, Billboard Top 20 Classical and Classical Crossover) and Koch International (Villa-Lobos’ Symphony #10, “Amerindia”). His awards include First Place in the Wagner Division of the Liederkranz Foundation of New York Competition, as well as major prizes from the Gerda Lissner Foundation and the George London Foundation. He earned his Master’s and Bachelor’s Degrees in music from the University of Southern California, where he graduated with honors for both degreesLiederkranz Foundation of New York Competition, as well as major prizes from the Gerda Lissner Foundation and the George London
Foundation. He earned his Master’s and Bachelor’s Degrees in music from the University of Southern California, where he graduated with honors for both degrees.
In July 2023, Italian bass-baritone Mattia Venni made his professional debut with the opera company Teatro Nuovo at The Lincoln Center in New York City, in the title role of Crispino in Crispino e la Comare (L. & F. Ricci).
The New York Times’ Oussama Zahr
Zahr said of Venni’s portrait of Crispino: “Mattia Venni was a sensational Crispino — his handsome baritone and capacity for self-parody allowed him to evolve from the melodramatic sobs of an almost-suicide scene to the complacent patter of success,” and The Wall Street Journal’s critic Heidi Waleson said, “Starred bassbaritone Mattia Venni as a hilarious Crispino, who brilliantly executed the rapid Italian patter and the subtle physical comedy of the role.”
Recently, in March 2025, Venni performed as Figaro in Le nozze di Figaro (W.A. Mozart) with the Sarasota Opera, USA, and in June 2025, he joined the apprentice artists program at The Santa Fe Opera, where he made his company debut as Antonio in Le nozze di Figaro (W.A. Mozart).
In Winter 2025, he performed at the Teatro Amintore Galli, Italy, in the role of Dulcamara in L’Elisir d’amore (G. Donizetti), and later in April at Opera Santa Barbara, USA, in the role of Sulpice in La fille du régiment (G. Donizetti).
He also performed as Sulpice in the Parnassus Society’s production of La Fille du Régiment (G. Donizetti) at Soka Performing Arts Center, USA.
In October 2025, Venni will be making his company debut at Amarillo Opera, USA, once again playing Figaro in Le nozze di Figaro.
In Spring 2026, Venni will be making his role debut as Cesare
Angelotti in Tosca (G. Puccini) with the Parnassus Society at the Soka Performing Arts Center, USA.
In November 2023, Venni was awarded both first place and the special prize Giuseppe Taddei Award at the International Lyric Competition of the city of Genova, Italy.
In May 2024, Venni won the International Lyric Competition “Jole de Maria” in Rome and later in the same month was among the 12 finalists of the “Mattia Battistini” International Lyric Competition in Rieti, Italy.
In June 2024, Venni won the Luciano di Pasquale International Lyric Competition in Rieti, Italy, and was among the 10 finalists in both the “Bellano Competition” on Lake Como, Italy, and the Carrara Lyric Competition, Italy.
Venni had a successful career in the film industry as a camera operator in Paris, France, and Los Angeles, California, before switching careers in 2019.
In 2020, he enrolled at the Herb Alpert School of Music at UCLA after being accepted to two other prestigious institutions: the Conservatorio Giuseppe Verdi in Milan and the Accademia di Santa Cecilia in Rome.
In 2021, he performed the role of Don Bartolo in UCLA Opera’s Le nozze di Figaro (W.A. Mozart), and in June 2022, he sang the role of Dulcamara in L’Elisir d’Amore (G. Donizetti) with Opera UCLA.
Mattia sang the role of Polyphemus in Acis and Galatea (G.F. Handel) in November 2022, directed by Crystal Manich and conducted by Dr. James Bass.
Venni graduated in June 2023 with a Bachelor of Music and a major in Voice Performance with the highest honors from UCLA’s Herb Alpert School of Music.
Ryan Reithmeier is a baritone, producer, and music educator, originally from Northcentral Montana. He earned music and education degrees at Concordia College, Moorhead in Minnesota, and California State University, Fullerton
before completing his Doctor of Musical Arts in Vocal Arts and Opera at the University of Southern California’s (USC) Thornton School of Music with highest honors, receiving the Opera Award upon graduation and serving as a faculty teaching assistant. During his time at USC, Dr. Reithmeier completed field work in music education, directing for the operatic stage, and arts leadership and entrepreneurship. He also made his debut with the Thornton Opera as L’aumonier in Poulenc’s Dialogues of the Carmelites.
Since arriving at OCSA in 2017, Dr. Reithmeier has overseen, produced, and directed numerous seasons of Classical Voice Conservatory opera productions, scenes programs, virtual projects, concert seasons, and international tours, which have exposed hundreds of students to an exceptional education in the vocal arts. His private students have gained acceptance to study in leading vocal arts studios at USC, the San Francisco Conservatory, and Chapman University, in addition to consistently earning high honors in adjudication and competitions.
Regarded as a versatile performer, Dr. Reithmeier has distinguished himself with notable opera, operetta, and concert organizations throughout California. Upcoming projects will include Fauré’s Requiem as well as Bach Cantata 88 with St. John’s Concerts, Orange, and a return to CAT Corona to provide vocal direction for their production of Pirates of Penzance.
Highlights from recent seasons include Pacific Opera Project’s critically acclaimed post-pandemic production of Leonard Bernstein’s Trouble in Tahiti, as well as serving as baritone soloist for the St. John’s Bach Cantata Vespers in Orange, Calif.
Dr. Reithmeier has performed more than 25 baritone roles in opera, oratorio, musical theatre, and operetta. Recent performances include Ich habe genug (BWV 82), Lobet Gott in seinen Reichen (Ascension Oratorio, BWV 11), as well as Brahms’ Ein Deutsches Requiem and Haydn’s Missa in Angustiis, the requiems of Duruflé and Fauré, in addition to numerous productions of Handel’s Messiah. Other appearances with the Operetta Foundation, Opera a La Carte, Soka Performing Arts Center, and Kallisti Ensemble have been met with high acclaim.
In addition, Dr. Reithmeier is a twotime winner of the Beverly Hills National Consortium Auditions, a winner of the NATS-LA Gwendolyn Roberts Auditions, and was a Western Regional finalist in the NATS-AA competition, and has given recitals throughout Southern California. Dr. Reithmeier is a soughtafter competition judge, having served on the adjudication panel for the Los Angeles Music Center’s Spotlight Awards, California Music Educators State Solo and Ensemble Festival, and National Association of Teachers of Singing Los Angeles Chapter Collegiate Auditions and Student Evaluation Program, as well as receiving regular invitations to
adjudicate collegiate competitions and present master classes.
Since 2016, Dr. Reithmeier has served on the Executive Board of NATS-LA, the nation’s largest chapter of the National Association of Teachers of Singing. Prior to coming to OCSA, Dr. Reithmeier served on the faculties of Azusa Pacific University and Vanguard University in Costa Mesa, Calif.
Robert Norman, tenor
Tenor Robert Norman has been hailed as “feisty and funny” (Opera News) and having a “truly lovely, Mozartean tenor” (San Francisco Classical Voice). He made his Los Angeles Opera debut in Candide,
playing the King of El Dorado and Don Issachar. He is a fifth-place finisher in the Loren L. Zachary National Vocal Competition, and an L.A. District Winner in the Metropolitan National Council Auditions. He received his Master of Music from CSU Northridge.
A specialist in the operatic character tenor repertoire, Mr. Norman has performed in over 45 roles in over 70 professional operatic productions. He has performed principal roles at Los Angeles Opera, Dayton Opera, Opera San Jose, Opera Santa Barbara, and Opera Orlando, among others. Favorite roles include Loge in Das Rheingold, Goro in Madama Butterfly, Pedrillo in Abduction from the Seraglio, Nika Magadoff in The Consul, Sellem in The Rake’s Progress, and Toby in Sweeney Todd.
Mr. Norman is a rostered member of the Los Angeles Master Chorale, with whom he has appeared as a tenor soloist in both Handel’s Messiah and Shawn Kirchner’s Songs of Ascent at the Walt Disney Concert Hall. He had the privilege of singing on the soundtracks for Star Wars: Episode IX – The Rise of Skywalker and Jungle Cruise, as well as being a featured soloist on Lost Ark’s North American client release. He also appeared on screen in an episode of Amazon Prime’s Hunters.
Kyle Xu is a third-year undergraduate at the UCLA Herb Alpert School of Music, where he is pursuing a degree in Vocal Performance with a minor in Bioinformatics. He studies under distinguished professor Vladimir Chernov and is an active member of the school’s opera and choral programs. His recent performances include the chorus for the world premiere of Richard Danielpour’s The Grand Hotel Tartarus and Fauré’s and Brahms’s requiems with the UCLA Chamber Singers.
Kyle has also received recognition
in competition, most recently as a finalist in the Opera Buffs Artists of the Future Competition, and earlier as a recipient of an Encouragement Award from the Schmidt Vocal Competition. Kyle sings with the choir of St. Alban’s Episcopal Church and serves as music director of Bruin Harmony, UCLA’s premier allmale competitive a cappella group. In his free time, Kyle enjoys playing basketball, video games, arranging music, and cooking.
Kelly Kuo, Conductor
Currently Music Director of the Reno Chamber Orchestra and Associate Artistic Director of American Lyric Theater, Kelly Kuo has consistently championed the development of the next generations of musical talent and demonstrated a commitment to innovative programming, creative initiatives, and advocacy of underrepresented voices in the concert hall.
Praised by the Cincinnati Enquirer as “a leader of exceptional musical gifts, who has a clear technique on the podium and an impressive rapport with audiences,” Maestro Kuo brings a dynamic versatility and nuance to a diverse and expansive repertoire of both symphonic and operatic works, including over 100 operas. His affinity for interpreting contemporary scores has led him to become a trusted musical authority in the development of new works. Highlights of previous seasons included productions with Lyric Opera of Chicago, Seattle Opera, Minnesota Opera, Cincinnati Opera, Des Moines Metro Opera, The Glimmerglass Festival, Wolf Trap Opera, Merola Opera Program, Central City Opera, Kentucky Opera, Opera Memphis, Opera Columbus, and the Manhattan School of Music, and concerts with the Memphis Symphony Orchestra, Malta Philharmonic Orchestra, Sunriver Music Festival, Indianapolis Chamber Orchestra, Cincinnati Chamber Orchestra, and Olympia Symphony Orchestra. Upcoming engagements include debuts with the Carmel Symphony, Arizona Opera, Boston Lyric Opera, and Oberlin Opera Theater.
In 2008, Maestro Kuo became the first conductor of Asian descent to lead a performance at the Lyric Opera of Chicago, making his company debut with Porgy and Bess. He was named Emeritus Artistic Director of the Oregon Mozart Players in 2024 after having served the longest tenure in the organization’s history. An Oregon native and recipient of a Solti Foundation U.S. Career Assistant Award, Kuo continues to concertize as a keyboardist as the only pianist to have studied with two pupils of the Russian virtuoso Vladimir Horowitz.
Acclaimed for her “warm, grand, and rich” pianism (The New York Sun), Dr. Cheryl Lin Fielding is the Artistic Director of the Parnassus Society, where she shapes the organization’s artistic vision and produces concerts that celebrate both artistic excellence and community engagement. Under her leadership, the Parnassus Society has grown into a dynamic platform for vibrant artistic expression in Orange County. Cheryl’s artistic direction is rooted in the transformative power of music and driven by a deep commitment to artistic development. Through her work with the Parnassus Society, she curates innovative programming that champions emerging talent alongside internationally recognized artists while fostering collaboration across disciplines.
With a career spanning some of the world’s most prestigious stages, Cheryl is widely sought after as a collaborative pianist, vocal coach, and concert producer. She has performed at renowned venues including Alice Tully Hall at Lincoln Center, Carnegie Weill Recital Hall, and the Tanglewood Music Center, and has collaborated with distinguished artists and institutions such as The Juilliard School, the Mark Morris Dance Group, Dolora Zajick’s Institute for Young Dramatic Voices, Santa Fe Opera, Opera San José and the Philadelphia Virtuosi
In addition to her work with the Parnassus Society, Dr. Fielding is on the music staff at the UCLA Herb Alpert School of Music where she teaches opera studies and vocal diction. Across her performing, teaching, and curatorial work, she remains deeply committed to nurturing the next generation of artists while creating meaningful artistic experiences that connect performers and audiences.
The All-American Boys Chorus (AABC), based in Santa Ana, is internationally recognized for its vibrant sound, musical excellence, and commitment to developing young artists of character. Founded in 1970, the Chorus provides rigorous vocal training and performance opportunities for boys ages 8–16, blending artistic discipline with personal growth.
Over the decades, the AABC has performed for U.S. Presidents, appeared on national television, toured extensively throughout the United States and abroad, and collaborated with major orchestras and distinguished artists. The ensemble’s repertoire spans classical masterworks, opera, patriotic music, and American standards, reflecting both its versatility and its uniquely American spirit.
In addition to musical excellence, the AABC emphasizes leadership, teamwork, and integrity—shaping young men who are as strong in character as they are in song.
The Chorus is honored to collaborate with the Parnassus Society in this production of Tosca by Giacomo Puccini, and is proud to contribute its voices to one of opera’s most powerful and dramatic masterpieces.
Wesley Martin serves as Artistic Director of the All-American Boys Chorus (AABC), where he leads the musical and artistic vision of one of America’s premier youth choral organizations. A passionate educator and conductor, Mr. Martin is dedicated to cultivating vocal excellence, musical literacy, and strong character in the young men entrusted to his care.
Under his leadership, the AABC has continued its tradition of high-profile performances, national tours, and collaborations with distinguished orchestras and arts organizations. Mr. Martin brings a dynamic and expressive conducting style to both concert and operatic repertoire, guiding young singers through works that demand precision, artistry, and emotional depth.
Deeply committed to the transformative power of music education, Mr. Martin believes that discipline, teamwork, and integrity are as essential as vocal technique. His work with the Chorus reflects a balance of artistic rigor and mentorship, preparing boys not only for the stage but for lives of confidence and purpose.
He is honored to prepare the young artists of the AABC for their participation in this production of Tosca by Giacomo Puccini in collaboration with the Parnassus Society.
Mark Lamanna is a stage director, writer, and teacher. He has directed opera productions and provided acting training for companies and schools including Pittsburgh Festival Opera, USC Thornton School of Music, Opera New Jersey, SongFest, Angels Vocal Art, South Coast Symphony, Intimate Opera Company, Azusa Pacific University, and the Hawaii Performing Arts Festival.
Productions include Il tabarro, Suor Angelica & Gianni Schicchi, followed by An Evening of Opera at Carnegie Hall for Angels Vocal Art; L’enfant et les sortileges, Cendrillon, Hansel and Gretel, La traviata, The Mikado, La tragedie de carmen, Die Fledermaus, She Loves Me, Kiss Me, Kate, West Side Story, and Dido and Aeneas. In 2007, Classical Singer Magazine named him Stage Director of the Year.
Mark trained in New York City as a singer with Lynne Vardaman and James Carson, trained as an actor at the T. Schreiber Studio and HB Studio, and danced on scholarship at the Joffrey Ballet School and School of American Ballet. He is grateful to have had brilliant and generous teachers.
Outside of theater and opera, Mark trained as a “Living-inProcess” facilitator with his mentor Harriet Elkington and teaches this approach to living to both individuals and groups in his home.
Sean McMullen is the CEO and founder of Children’s Theatre of Long Beach. Winner of the Princess Grace Foundation’s Excellence in Theatre Award and Long Beach Hero 2014, Sean has been choreographing and directing theatre for all ages for the past 25 years in addition to teaching at the multiple Southern California Colleges and Orange county school of the Arts. Before Sean started teaching and directing he designed for the theatre in venues as small as 60 seats and in excess of 3000. Sean has designed and assistant designed sets, costumes and scenery regionally and on Broadway working with designers Christopher Barreca and Douglas Rogers as well as for Directors Glenn Casale and Matthew August.
Kelly Kuo, Conductor
VIOLIN I
Robert Schumitzky, Concertmaster
Agnes Gottschewski, Assistant Concertmaster
Michael Siess, Associate Concertmaster
Julie Ahn
Tingwei Tan
VIOLIN II
Madalyn Parnas Möller*
Alexis Meschter**
Yutong Sharp
Shelly Shi
Hee Sagong
VIOLA
Jonah Sirota*
Phillip Triggs **
Cheryl Gates
Alice Ping
CELLO
Jonathan Flaksman*
Garik Terzian**
Martha Lippi
DOUBLE BASS
Richard Cassarino*
Douglas Basye**
FLUTE/PICCOLO
Sierra Schmeltzer*
OBOE
Ted Sugata*
CLARINET
David Chang*
Juan Gallegos
BASSOON
Elliott Moreau*
FRENCH HORN
Sarah Bach*
Melia Badalian
TRUMPET
Miles McAllister*
BASS TROMBONE
Noah Gladstone*
TIMPANI
Rob Slack*
PERCUSSION
Danielle Sqyures*
HARP
Allison Allport*
CELESTE
Lisa Iwaki
ORCHESTRA CONTRACTOR
Rob Schumitzky
* Principal ** Assistant Principal
Wesley Martin, Chorus Director
Ahuja, Kaden
Camba, Alex
Chisum, Ryan
Erkelens, Quentin
Firlik, Charlie
Jiang, Peter
Kim, Kayson
Kim, Tayten
Kimball, Aiden
Lam, Andy
Lau, Austin
Li, Jeffrey
Lin, Antonio
Liu, Edan
Mackley, Marcus
Mazzaglia, Giancarlo
Oh, John
Parsons, Max
Sakabedoyan, Andrew
Smith, Dylan
Ye, Frank
Ye, Louis
Zhang, Tommy
Aggarwal, Asmi
Bach, Amber
Beckner, Carleigh
Bradley, Hope
Carr, Tiffany
Chung, Henry
Courtney, Henry
Curtis, Celine
Eulen, William
Guenther-Clark, Reese
Kang, Sean
Kaye, Hannah
Li, Vicky
Liang, Alana
Navarro, Leah
Posos, Liam
Sacher, Theresa
Salazar, Zaid
Stephenson, Audrey
Stewart, Mia
Sublette, Sydney
Toyama, Mikah
Watkins, Lavinia
Woodward, Emma
Wu, Willow
Yoo, Jimin
Yoshimura, Zachary
Chorus Preparation
Lisa Iwaki
Robert Norman
Parnassus Society enriches the cultural life of Orange County by presenting the timeless beauty of classical music and opera in a uniquely communityminded way. We bring world-class artists to perform in intimate, acoustically spectacular settings while providing opportunities for local talent to share the stage with these internationally-recognized artists.
The collaboration between our emerging artists and world-renowned professionals electrifies the audiences and also nurtures the future of this deeply human art form in an increasingly digital world.
These opportunities for audiences and Orange County’s young artists are made possible by generous donations from patrons like you.
We invite you to be part of the Parnassus community!
Founder and President:
Kenneth Tokita, M.D.
Advisory Board:
Pamela Carlton
Cheryl Lin Fielding
Patricia Houston
John Meindl
Susie Meindl
Aviva Watkins
Kelvin Watkins
Head of Administration:
Diane Oshiro
Artistic Director:
Cheryl Lin Fielding
Orchestra Contractor: Rob Schumitzky
Orchestrator: Motet Music Publishing Company
Technical Advisor: Miles Shishido
Parnassus Affiliate Intern: Lal Besir, Eastman School of Music
Parnassus-OCSA Internship Class
Lead Interns:
Henry Courtney
Leah Navarro
Tiffany Carr Interns:
Carleigh Beckner
Hope Bradley
Alex Reyes
Arya Sopory
Audrey Stephenson
Sydney Sublette
Mikah Toyama
Leila Woodward
Magnifico $20,000 +
Tokita Family
Grandioso $10,000 +
Maestoso $5000 + Junichi Funada
Mahoney Tallman Family Foundation
Vivace $1000 + Pamela J Carlton
Patricia Houston
John & Suzanne Meindl
Romulus & Carmen Paunescu
Allegro Brillante $500 + James Conroy
Meghan Harris
Courtney Nguyen Family
John Ravera
Samura Family
Robert & Katharine Young
Espressivo $100 + Donna Baick
Marie Djang
John & May Gee
Lisa Gibbs
Lila Tsuda Grant
Camille King
Pietrow Family
Petrea & Luiza Timariu
Robert & Catherine Waters
Con Grazia $25 + Jan Kovac
We are deeply grateful for your generosity in enriching Orange County with the joy and beauty of classical music!
SUNDAY, MAR. 22, 2026 | 3PM
PROGRAM
BACH Partita No. 5 in G major
SCHUMANN Sonata No. 2 in G minor, Op. 22
COUPERIN From the Sixième Ordre
RAVEL Le Tombeau de Couperin
“I know of no musician whose Bach playing is of greater subtlety, beauty of tone, persuasiveness of judgment or instrumental command” - BBC Music Magazine
TICKETS &
SUNDAY, APR. 12, 2026 | 3PM
PROGRAM
HAYDN Sonata in D major, Hob. XVI:37
BEETHOVEN Piano Sonata in C major, Op. 2, No. 3
MEDTNER Danza festiva, Op. 38, No. 3
RACHMANINOFF Étude-Tableau in E-flat minor, Op. 39, No. 5 and more!
“Hamelin’s legend will grow - right now there is no one like him.” - Alex Ross, The New Yorker
A wide variety of wine, beer, soft drinks and freshly prepared snacks will be available before the concert and during intermission.
In celebrating my Tosca debut, I chose a Roman Spritz as a small toast to Rome itself—sunlit, vibrant, and rich with feeling. I hope you enjoy it as we return to the story.
Click here for menu and to order or scan the QR code
Pre-order your concessions and skip the line during intermission!
Our mission is to Engage, Educate, and Elevate the Human Spirit
Soka Performing Arts Center is dedicated to elevating the human spirit through transcendent live experiences. Discover the unmatched beauty of our acoustics. Expand your understanding and appreciation of music through our programs that illuminate new perspectives. Build community and forge deep connections through the shared experience of live performance. We invite you to become a part of our Soka Performing Arts Center family and to Listen. Feel. Transform.
Soka Performing Arts Center is located on the beautiful hilltop campus of Soka University of America in Aliso Viejo. Our facility includes the 1,042seat Concert Hall featuring world-class acoustics designed by master acoustician Yasuhisa Toyota, designer of the Walt Disney Concert Hall in Los Angeles and Suntory Hall in Tokyo, among many others. We also have an intimate 350-seat Black Box Theatre that allows for multiple seating configurations including club seating with bistro tables.
More than 800 performances have taken place since the center’s dedication on May 27, 2011. The 2025-26 season marks our fifteenth season presenting first-class programming in our world-class concert hall. We are continuing to expand our programming and outreach with the addition of a Children’s Concert Series and the only Great Pianists Series on the West Coast. From classical and jazz to world and contemporary music, the Soka Performing Arts Center has become a prized space for artists and audiences alike.
We are proud to be the home of the Pacific Symphony Chamber Orchestra. Our Sundays @ Soka Series with Pacific Symphony continues to be one of our most popular series year after year. Our presentations with other Orange County arts organizations have enabled us to reach further into our community to offer arts education and programming. Our partnership with the Philharmonic Society of Orange County includes our Philharmonic Society Series, which brings superlative artists to our stage. We also partner with Philharmonic Society for our Outreach Program, bringing over 7,000 school children to Soka Performing Arts Center to experience live performances with outstanding musicians.
With its world-class acoustics and first-class performances, Soka Performing Arts Center is quickly becoming one of the cultural jewels of Orange County.
DIRECTOR’S CIRCLE ($75,000+)
Dr. Kenneth & Sandra Tokita
Sam* & Lyndie Ersan
CONCERTMASTER ($10,000+)
Ms. Emi Maeda
STAGE CHAMPION ($5000+)
Yoshitomo & Takemi Daido
STAGE BENEFACTOR ($1000+)
Anonymous
OC Chinese Cultural Club
John and Sue Prange
Terumi Saito
Jochen Schumacher
Alex & Sandy Scott
Scott A Shuping
Anson and Marilyn Wong
PLATINUM CLEF ($500+)
Anonymous
Jeffrey Hendrix
Edward D. Jones
Jane A. Lynch
GOLD CLEF ($200+)
Judy Kaufman
Lorraine Leiser
Naomi Uchiyama
SILVER CLEF ($100+)
Renée Bodie
Sam Chang
Masako Inage
Debrah Jiang
Chiharu Nagai
Paul Porto
Thomas Prigorac
Jonia Suri
Joseph Whittaker
BRONZE CLEF ($25+)
Raquel Bruno
Kenneth Hanawa
Ryosuke Iga
Jeannette Pease
Joyce M Wrice
Taro Yamanashi
* Deceased
List current as of 09/26/2024
The Soka Performing Arts Center deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Contact Renée Bodie, General Manager at (949) 480-4821 to make us aware of any error or omission in the foregoing list.
DONATE TO SOKA PERFORMING ARTS CENTER
Your support helps ensure Soka Performing Arts Center fulfills its purpose: to engage, educate, and elevate the human spirit. Your gift supports the programming of world-class performances, provides transformative educational outreach experiences, and opens the opportunity to build engagement with our community by sharing the joy of live music.
Our subscription and renewal program provides you with even more flexibility in our season packages*. With our enhanced program, you now have the power to curate your very own unique experience.
• 15% Discount for a 3 performance package
• 18% Discount for a 4 performance package
• 20% Discount for a 5+ performance package
*full details online at soka.edu/pac
• Blueport Jazz
• Philharmonic Society of Orange County
• Pacific Symphony
• Parnassus Society
Renée Bodie
General Manager & Artistic Director
John Morgan
Box Office Manager
Antoinette Rossman
House Manager/Assistant to the General Manager
Steve Baker
Production Manager
Jarmil Maupin
Internal Events Manager
Ian Smith
Technical Services Manager
Katie Ohrn
Lighting Supervisor
Piano Tuners
Kathy Smith Lead Tuner
Ron Elliott
David Stoneman
David Vanderlip
Website soka.edu/pac
Soka Performing Arts Center resides on the beautiful campus of Soka University of America. We thank the SUA Board of Trustees and the SUA Leadership Council for all of their support.
Stephen S. Dunham, JD | CHAIR
Vice President and General Counsel Emeritus, Pennsylvania State University | Baltimore, Maryland
Tariq Hasan, PhD | VICE CHAIR
Chief Executive Officer, SGI-USA | New York, New York
Andrea Bartoli, PhD
President, Sant’Egidio Foundation for Peace and Dialogue | New York, New York
Matilda Buck
Benefactor | Los Angeles, California
Lawrence E. Carter, Sr, PhD, DD, DH, DRS
Dean, Professor of Religion, College Archivist and Curator, Morehouse College | Atlanta, Georgia
Andy Firoved
CEO, HOTB Software | Irvine, California
Jason Goulah, PhD
Professor of Bilingual-Bicultural Education and Director, Institute for Daisaku Ikeda Studies in Education, Director of Programs in Bilingual-Bicultural Education, World Language Education, and Value-Creating Education for Global Citizenship, College of Education, DePaul University | Chicago, Illinois
Clothilde V. Hewlett, JD
Commissioner of Department of Financial Protection and Innovation, State of California | San Francisco, California
Karen Lewis, PhD
Sondheimer Professor of International Finance and Co-Director, Weiss Center for International Financial Research, Wharton School, University of Pennsylvania | Philadelphia, Pennsylvania
Luis Nieves
Founder, Chairman Emeritus AUL Corp, Benefactor | Napa, California
Isabel Nuñez, PhD, MPhil, JD
Professor of Educational Studies, Dean of School of Education, Purdue University Fort Wayne | Fort Wayne, Indiana
Gene Marie O’Connell, RN, MS
Health Care Consultant, Associate Clinical Professor, University of California, San Francisco School of Nursing | Corte Madera, California
Adin Strauss
General Director, Soka Gakkai International-USA | Santa Monica, California
Yoshiki Tanigawa
Benefactor, Soka Gakkai | Tokyo, Japan
Gregg S. Wolpert
Co-president, The Stahl Organization | New York, New York
Edward M. Feasel, PhD
President, Soka University of America (ex-officio member) | Aliso Viejo, California
Edward M. Feasel, PhD
President
Chief Academic Officer
Professor of Economics
Archibald E. Asawa
Executive Vice President for Finance and Administration
Chief Financial Officer
Chief Investment Officer
Katherine M. King, PHR
Executive Vice President of University
Community
Chief Human Resources Officer
Title IX and Section 504 Coordinator for Faculty, Staff and Others
Michael Weiner, PhD
Executive Vice President for Academic Affairs
Professor of East Asian History & International Studies
Bryan E. Penprase, PhD
Vice President for Sponsored Research and External Academic Relations Professor of Physics and Astronomy
Tomoko Takahashi, PhD, EdD, LHD
Vice President for Institutional Research and Assessment
Dean of the Graduate School Professor of Linguistics and Education
David Welch, JD Vice President University Counsel
M. Robert Hamersley, PhD Dean of Faculty Professor of Environmental Biogeochemistry
Hyon J. Moon, EdD Dean of Students
Title IX and Section 504 Deputy Coordinator for Students
Michelle Hobby-Mears, MBA
Associate Dean of Students Director of Student Activities
Andrew Woolsey, EdD Dean of Enrollment Services
Martin Beck, MA
Executive Director of Strategic Marketing and Communications