Fall 2026 Music Gazette

We welcome another Fall semester here in the Music Department and things are as busy as ever! We offer a sincere congratulations and best wishes to our most recent graduates, including Music majors Saira Arora, Jisue Choi, Hannah Guo, Simon Shelley, Noah Straus, and Aaron Wu, as well as our many ensemble participants.

Less felicitous goodbyes are occasioned by the retirements of our longtime faculty members Gayle Blankenburg (piano) and Theresa Dimond (percussion) and to our piano technician Ryan Maas, who leaves us for greener pastures. We wish them all the best and will miss their important contributions here.

We bid a warm welcome to our new and returning lecturers: Linda Dallimore (musicianship lab), Chris Aplin (ethnomusicology), Ming Tsu (piano), and Jonathan Schlitt (percussion). We also welcome Jon Engelhard (piano technician) to our staff.

Our concert season is off to a fine start. A few highlights include concerts by the Redfish Piano Trio (with our own Professor Genevieve Feiwen Lee); the BlackBox Ensemble, which performed the workshop premiere of a chamber opera by Assistant Professor Ania Vu; and the Pomona College Orchestra, which featured lecturer in viola Kira Blumberg in the gorgeous La Llorona by Pulitzer Prize-winning composer Gabriela Lena Frank. This semester will also see Music for 6 Pianos and Pomona’s first performance of Handel’s Messiah in nearly twenty years.

We look forward to seeing you at one (or more!) of our concerts. Chirp, chirp!

– Melissa Givens, Department Chair

In this Issue

Department News
Performing Ensembles
Faculty
Students
Alumni

Of Special Note

Performer, scholar, and educator Srivani Jade visited Pomona in April to share her knowledge of Hindustani music. India-born Jade now calls La Verne home after a long residence teaching and performing in the Seattle area. Jade held the Bridges Hall audience spellbound in an April 4 concert featuring her own compositions and soulful vocal renderings of North Indian classical music, assisted by musicians Tanmay Bichu, Aryan Prakash, and Neil Lote. Following the concert, Jade enthralled students of the course Introduction to World Music with a lecture/demonstration covering such topics as emotional expression, pitch control, nonverbal communication between musicians, and the role of women composers of the tradition.

Summer 2026

We were fortunate to have three wonderful students working in the department this summer. Adam Long ’27 assisted Donna Di Grazia with an archive project for the Pomona College Choir. Alisa Stepchuk ’27 worked as a department assistant throughout the month of July. And Garrison Xu ’27 engaged in a SURP with Professor Alfred Cramer.

Special Events

This semester’s guests include Redfish Piano Trio, who opened the season in a program of Mozart, Dvořák, and Mélanie Bonis. NYC-based BlackBox Ensemble came to campus to perform Ania Vu’s chamber opera Odessa: Through the Doors and spent part of their residency working with four composition students—Ian Tam ’27, Ella Tzeng ’27, Aria Wang ’27, and Drew Wilkinson ’28. The students began their compositions last spring and had the opportunity to workshop and record their pieces with BlackBox Ensemble.
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Performing Ensembles

The POMONA COLLEGE BAND, conducted by Graydon Beeks, will perform concerts on November 13 and 15. The program will feature William Schuman’s Chester and works by Leonard Bernstein, Carolyn Bremer, Benjamin Britten, and others. Rehearsals are Monday and Wednesday evenings.

The POMONA COLLEGE CHOIR, under direction of Donna M. Di Grazia, enjoyed a pair of successful performances with the Pomona College Orchestra last April featuring Poulenc’s Gloria and Ralph Vaughan Williams’s Dona nobis pacem; Di Grazia prepared the chorus for these concerts, while Professor Eric Lindholm conducted the performances. This fall, Di Grazia and the Choir will team up with the period-instrument ensemble Harmonologia Pomona in two performances of an abridged version of Handel’s Messiah. Last offered by the Choir in 2008, this will be the first time Messiah will be performed on campus with professional musicians playing instruments from the period (or modern replicas) at a lower historical pitch.

Last May, Professor Di Grazia and the POMONA COLLEGE GLEE CLUB completed a successful spring tour to Colorado and New Mexico. Alumni, family, friends, and local residents in Colorado Springs, Denver, Albuquerque, and Santa Fe responded enthusiastically to a 50-minute program, highlighted by Caroline Shaw’s and the swallow and Reena Esmail’s Tuttarana. In an article about the Spring 2026 tour, Glee Club president Syd Cottrell ’26 shared “Without fail, singing Over the Years and Amazing Grace with Glee Club members who graduated 10, 15, maybe even 30 years ago always brings tears to my eyes,” she says. “It reminds me what a privilege it is to sing and to be part of such a special community that I know I will cherish for the rest of my life.”

Thanks to a generous gift, the POMONA COLLEGE JAZZ ENSEMBLE led by director Barb Catlin participated in an artist residency with percussionist, composer, and educator Lauren Ellis last April. An award-winning composer and percussionist from New Zealand, Ellis came to Los Angeles to pursue graduate studies at USC under renowned jazz drummer and educator Peter Erskine. She has since established herself as an active member of the Los Angeles jazz and session music community. Ellis’s expertise helped prepare the ensemble for its Latin Jazz concert on May 1, which featured Grammy® Award-winning trombonist Francisco Torres, saxophonist Tom Luer, conguero Estevan Olmos, and Ellis on percussion and drum set. This fall, the Jazz Ensemble will perform on November 17 in Lyman Hall. Catlin has been invited to direct the Louisiana All-State Jazz Band—the fifth all-state group she has conducted after California, Arizona, Montana, and Wisconsin.

The POMONA COLLEGE ORCHESTRA, led by Eric Lindholm, conductor, has an ambitious semester planned, with a pair of iconic Fifth Symphonies, those by Sibelius and Tchaikovsky. The Sibelius work is noteworthy for its fascinating first movement, a sort of hybrid prelude-scherzo that features a five-minute accelerando, and the memorable “Swan Hymn” that dominates the finale. The Tchaikovsky Fifth is among the best-loved pieces in the symphonic literature, tied together by a “motto theme” that appears in each of the piece’s four movements and abounding with signature melodies and unforgettable drama. The October program also included two pieces with connections to Mexico: Gabriela Lena Frank’s La Llorona, a viola concerto with faculty soloist Kira Blumberg, on the myth of the “crying woman,” a ghost who haunts the living near bodies of water while lamenting the loss of her drowned children; and the ever-popular Danzón No. 2 by Arturo Márquez, best known for its performance at the BBC Proms given by the Simón Bolívar Youth Orchestra and conductor Gustavo Dudamel. Along with the Tchaikovsky in November, the orchestra will play Lyadov’s delicate tone poem The Enchanted Lake and Bernard Herrmann’s film score suite to the Alfred Hitchcock thriller Vertigo.

The POMONA COLLEGE BALINESE GAMELAN ENSEMBLE, Giri Kusuma, will perform on Monday, December 7 in Bridges Hall of Music. This past August, I Nyoman Wenten received the Dharma Kusuma award, presented by the Governor of Bali. It is the Balinese government’s highest honor for artistic and cultural achievement. He was nominated by the Consulate General of the Republic of Indonesia in Los Angeles, in recognition of his dedication to preserving and performing the Indonesian arts, including his work with Nanik Wenten directing the Pomona College gamelan ensemble.

The POMONA COLLEGE WEST AFRICAN MUSIC ENSEMBLE, Nani Agbeli, director, has been busy with rehearsals preparing for their November 24^th performance.
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Faculty News

Assistant Professor Malachai Komanoff Bandy is thrilled to be back in Thatcher after spending his Steele Leave as a fellow at Chicago’s Newberry Library. He enjoyed a productive and energizing summer: after performances with Bach Collegium San Diego, Tesserae Baroque, and Artifex Consort in May, he spent June doing archival research in North Germany and leading a seminar discussion organized by the University of Copenhagen’s Faculty of Theology at the Centre for Copenhagen Luther Research (DK). He then presented a paper handling Dieterich Buxtehude’s Membra Jesu nostri at the Twelfth Bach Network Dialogue Meeting in Cambridge (UK). In July and August, Malachai served on faculty at early music workshops on two coasts—the San Francisco Early Music Society’s Medieval/Renaissance Workshop (Berkeley, CA), the Annual Conclave of the Viola da gamba Society of America (Radford, VA), and Viols West (Santa Barbara, CA)—where he taught classes on Renaissance string articulation, texts from the Song of Songs, the medieval lectionary, and more. In his musicological life, Malachai was recently elected to the Council of the American Musicological Society; closer to home, he is partnering with Associate Professor of English Jordan Kirk to start a Pomona faculty working group on the Source of the Liberal Arts, thanks to a generous grant from the College’s Faculty Fund for Collaboration and Innovation. Malachai is elated to be teaching Engaging Music and an ID1 course called “Music Matters: Music, Materiality and Meaning” this semester.

In July, Professor Alfred Cramer presented the latest installment of his research on relationships between the melodic aspects of music and speech: a poster on “Theorizing Reorganized Prosody in the Speech-to-Song Transformation through the Implication-Realization Model” given at the Society for Music Perception and Cognition in Evanston, Illinois. He recently acquired a new baroque violin made by Michael Fischer of Los Angeles, which he inaugurated in September in a performance of music by Telemann with Cornucopia, an ensemble of Pomona colleagues and others. This semester he has taken on the position of Coordinator for Applied Music in the Music Department, as well as chairing the College’s Faculty Position Advisory Committee.

Professor Donna M. Di Grazia’s book chapter, “Franz Liszt as Conductor, as Interpreter: Perspectives on Sources and Scholarship,” is set to appear in a collection of independent essays edited by Robert Illiano for the Belgian academic publisher Brepols. The book, The Composer-Conductor Figure between the Nineteenth and Twentieth Centuries, is the sixty-first volume in the Speculum musicae book series. It is scheduled to be available this fall. Unrelated to her Liszt research, Di Grazia spent six weeks this summer transposing twelve Messiah choruses for the Choir’s two collaborative pianists, who will use them in rehearsal as the ensemble prepares for its performances with period instruments.

Associate Professor Melissa Givens authored the introduction to a paper, “IPA, Consonant Categories, and the Sound Singing Institute,” given at the 55th annual symposium of The Voice Foundation, May 28, 2026. Its principal author is Sharon Radionoff, DMA. She narrated the video for Marian Anderson in the series 250 to 250, curated by historian Heather Cox Richardson, to highlight the people whose contributions were essential in the making of America in her 250th year. In September, she premiered the work Mesmer by Tom Flaherty alongside baritone Scott Graff, Flaherty, Cindy Fogg, Genevieve Lee, and Joti Rockwell.

Tune into the podcast Prof Talk to hear Professor Genevieve Lee in conversation with hosts and professors Tom Le (politics) and Nicholas Ball (chemistry) on the subject of Music and the Liberal Arts, recorded in March.

Lee and her violin colleague Sarah Thornblade played works by Mozart and Grażyna Bacewicz for an April Friday Noon Concert. She and her colleague Jennie Jung presented a program of 4-hand and 2-piano music by Bernstein, Piazzolla, Rachmaninoff, and Ravel for the May meeting of the Foothill Philharmonic Committee. On the Tuesdays @ Monk Space series in Los Angeles, Lee performed a vocal-piano work of Chinary Ung with soprano Stacey Fraser and Brightwork. With National Cello Institute faculty member Amy Barston, she played music of Arutiunian, Beach, and Shostakovich in Lyman Hall. Pomona College has been the host for the NCI for 50 years.

This summer, Lee returned as a faculty member to the Chamber Music Conference, held on the campus of Colgate University each year, where she coached amateur musicians and performed repertoire including Francis Poulenc’s Trio with oboe and bassoon, Jennifer Higdon’s Yellow for piano trio, and a premiere of three movements of Brad Balliett’s Artisanal Shanties for violin, bassoon, and piano. During the 2026 Redfish Music Festival, Lee played three faculty concerts and worked with young artist participants in four concert events along the coast of southern Oregon and northern California. As part of the Redfish Piano Trio, she presented trios by Mozart and Dvořák. She and the Astrodon Quartet performed Schumann’s Piano Quintet. At the Garth Newel Music Center 2026 Summer Festival, whose concerts are available on YouTube, Lee played a 4-hand piece by David Lang, 2-piano works by John Adams and Leonard Bernstein, and 8-hand arrangements of symphonic works by Tchaikovsky and Liszt.

Highlights of the fall include a new Tom Flaherty work on the annual Celliola concert; a solo piano and harpsichord recital that will include works by Crumb, Debussy, Haydn, and Ania Vu; and a piano ensemble concert of works for 1, 2, 3, and 6 pianos!

Eric Lindholm plans this year to finish revising his orchestrated set of songs by Florence Price, Songs of Love, Labor, and Loss. He is also working on composing short pieces for string orchestra to be used in educational settings. In September, he participated in a performance of Tom Flaherty’s Song and Dance for cello quartet, and in November, he will conduct the Claremont Symphony Orchestra in a program of music by Dvořák, Nielsen, Eduard Tubin, and Evgeni Orkin. A visit in May to New York’s Museum of Modern Art and its exhibit on the Metropolitan Opera’s production of El Último Sueño de Frida y Diego inspired him to program a piece by that opera’s composer, the Pulitzer Prize-winning Gabriela Lena Frank. The choice ended being Frank’s tone poem for viola and orchestra, La Llorona, with the Pomona College Orchestra joined on its October concerts by faculty soloist Kira Blumberg. Like El Último Sueño, La Llorona explores the spiritual interaction between the land of the living and the land of the dead.

This past April, Associate Professor Joti Rockwell presented a paper, “Banjos and Pedal Steels: Analyzing Jerry Garcia’s Bluegrass Roots,” at the fifth annual String Band Summit at East Tennessee State University. In June, he joined Peter Harper in France for performances in Marseille and the Center for Cultural Development in Saint-Martin-de-Crau. This fall, he is on sabbatical investigating the concept of translation across musical instruments. This work is supported by a grant he received from the Association for Recorded Sound Collections to pursue research at the American Folklife Center in Washington, DC.

Associate Professor Gibb Schreffler is on sabbatical leave this Fall to research for a book that will trace lineages of Afro-diasporic work songs in the Americas. Research began in June at the Library of Congress where, with the support of an Eileen Southern Fellowship from the Society for American Music, Schreffler studied archival field recordings of sailors, stevedores, and other laborers in California, Nova Scotia, the US South, and the Bahamas, 1920s–1960s.

During July–September, Schreffler made field trips to three countries in the Caribbean: St. Kitts and Nevis, Anguilla, and Guyana. The purpose was to assess the current state of cultural memory of this body of songs whose practice continued the longest in these regions. On the island of Nevis he interviewed fishermen, in Anguilla he interviewed elders about small-plot farming, and in Guyana he studied freelance gold miners—all of whose occupations once incorporated singing.

Assistant Professor Ania Vu had several performances of her pieces over the summer. Brightwork Newmusic, featuring Pomona’s own Maggie Parkins and Aron Kallay, closed its season with a program curated by Parkins, “Voices Rooted from Southeast Asia,” which was voted Favorite New Music Performance in the SF Classical Voice’s Audience Choice Awards. In that concert, Brightwork performed “Strange Birds,” a scene from Vu’s chamber opera Odessa: Through the Doors, where players not only play music, but also speak and act as different birds. In June, Vu traveled to New York City to attend the East Coast premiere of Water Realms for chamber orchestra at the Chelsea Music Festival in NYC, conducted by Ken-David Masur. Her piece Floating Dandelions was performed at the Bowdoin International Music Festival by festival faculty Luke Rinderknecht.

In August, Vu received the 2026 Barlow Endowment General Commission to write a new piece for Brightwork Newmusic this upcoming year, and she is excited to continue her collaboration with the group. Odessa: Through the Doors had its first complete performance in October as an unstaged, public workshop by the NYC-based Blackbox Ensemble at Pomona College. Blackbox also worked with our talented Pomona students by workshopping and recording their pieces, in addition to giving guest lectures in classes.

Vu is looking forward to the fall calendar at Pomona and being part of Music for 6 Pianos, and is grateful for having her works performed by the Eclipse Quartet, Genevieve Lee, and Tom Flaherty.
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Emeritus Faculty

Graydon Beeks conducted the Pomona College Band in a pair of concerts in April featuring premiere performances of In This Breath by Shuying Li and works by Gustav Holst, Scott Joplin, Roger Nixon, Alfred Reed, Matyas Seiber, and John Philip Sousa. In February he joined his Cornucopia Baroque Ensemble colleagues violinist Alfred Cramer, flutist Sherrill Herring, bassoonist Carolyn Beck, and cellist Roger Lebow as harpsichordist in a program of music by Boismortier, Handel, and Telemann on the Friday Noon Concert series. In March he conducted an ensemble of faculty and guest performers assembled by trumpet instructor John Aranda in a program of music for organ and large brass ensemble that included the premiere of Tom Flaherty‘s Semiquicentennial Spangles. In June, he participated in the annual Handel Festival and Conference in Halle, Germany, where he presented the paper ‘‘The Use of Cannons Material in Handel’s Op. 2 Trio Sonatas” and took part in the meetings of the Editorial Board of the Hallische-Händel-Ausgabe and the Vorstand of the Georg-Friedrich-Händel Gesellschaft. His article “‘Some Overtures to be played before the First Lesson’: New Candidates” was published in the 2026 Händel Jahrbuch.

Tom Flaherty has enjoyed several recent performances of his music. This summer, he performed Bar Talk with Jonathan at the National Cello Institute in Lyman Hall with colleagues Rachel Vetter Huang, violin and Cindy Fogg, viola. Airdancing was performed by Tönky Hönk Duo (Madeline Hildebrand, piano; Everett Hopfner, toy piano) at Sidestage in Winnipeg, Canada. In July, he performed Moments of Inertia at the Assisi Music Festival in Assisi, Italy with Leslie Schroerlucke, clarinet and Cindy Fogg, viola. His work Goal Mining was released on Reference Recordings on pianist Nadia Shpachenko’s soccer album Keys to the Beautiful Game. The annual Celliola and Friends concert in September featured the premiere of Mesmer, plus works Triphoria and Glass and music by Ania Vu, Zoltán Kodály, Bach, and Wiancko performed by Melissa Givens, soprano; Scott Graff, baritone; Joti Rockwell, mandola; Cindy Fogg, viola; Tom Flaherty, cello; and Genevieve Feiwen Lee, piano. In September, his cello quartet Song and Dance was performed by Maggie Parkins, Kyle Champion, Julie Jung, and Eric Lindholm, cellos in Lyman Hall.

William Peterson presented an organ demonstration in Joti Rockwell’s music theory class, “Advanced Theory Topics” (Music 82) in April. The presentation included an introduction to the Hill Memorial Organ in Bridges Hall of Music, and he explored both brilliance of sound and breadth of sound using different combinations of stops on the three keyboards and the pedalboard of the organ built by C. B. Fisk. He played J.S. Bach’s Fugue in C Major (BWV 545) before inviting the students to come up to the organ case.
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Student Happenings

Recipient of a McCord Grant, Ella Tzeng ’27 attended the Walden School’s Creative Musicians Retreat in Dublin, New Hampshire. They debuted a new piano solo composition, Altitude, which was performed by pianist David Friend, and participated in composition workshops as both a performer and composer.

Garrison Xu ’27 worked with Professor Alfred Cramer through SURP (Summer Undergraduate Research Program) to explore the narratives and legacies of Woody Guthrie’s This Land Is Your Land. His research also examined how Ruth Crawford Seeger and Pete Seeger made folk songs accessible through music education, highlighting how parents, children, and teachers together continuously shape and carry on musical traditions.
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Alumni Spotlight

When soprano Lucy Shelton ’65 celebrated her 75th birthday in 2019 with a special concert in Manhattan’s Merkin Hall, she thought it might be her last public performance. Shelton, who is internationally acclaimed for her work in contemporary music, performed that night with more than a dozen colleagues and former students and sang several pieces that had been written especially for her over the years.

It could have been a fitting finale to an extraordinary career. But that’s not how it turned out. Since 2021, Shelton has sung on stages around the world—in Aix-en-Provence, Helsinki, London, Amsterdam, San Francisco and Adelaide—as The Teacher in Kaija Saariaho’s final opera Innocence and, in 2024, in a role tailor-made for her in the world premiere of Laura Kaminsky’s chamber opera Lucidity.

When Innocence, which tells the story of a school shooting and its aftermath, premiered at the Metropolitan Opera in April, Shelton made her debut at that hallowed institution at the age of 82.

Shelton’s explanation for her career’s longevity? “I simply love making music.” Beyond that, she thinks she is still able to sing “because I’ve used my voice in many different ways over all of these decades and always found ways to meet the various challenges of the repertoire.”

The distinctive feature in her dramatic role in Innocence is that it primarily uses sprechstimme (speechsong) rather than traditional operatic singing. Shelton is renowned for this expressive style developed in the early 20th century. Saariaho knew of her mastery of sprechstimme and had Shelton in mind when composing the role.

While a music major at Pomona, Shelton played flute in the band and orchestra and sang in Choir and Glee Club. She took leading roles in the annual Gilbert and Sullivan productions.

Debuting at the Met was never a goal for Shelton, whose calendar was already filled with exciting performing opportunities. “It was never something I had imagined or even hoped for,” she says. “I’m delighted—it is a big deal, obviously! But the main big deal is that this opera is such a stunner.”

After all those performances around the world (and she will again sing the role in Paris in November of 2027), Shelton still finds herself moved by the opera. “It is a sublimely devastating drama with astounding music from Saariaho. It still gets me.”

By Judy Hill. Excerpted, with permission, from the Pomona College Magazine Summer 2026 issue.  

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Alumni News

Jacqueline Cordes ’25 composed an original score for a short film that was accepted by the 2026 Beverly Hills Film Festival and screened at the Chinese Theater in Hollywood. Earlier this year she won four Bronze medals from the Global Music Awards in the categories of Composition, Original Score, Creativity/Originality, and Experimental.

Jeremy Martin ’25, former jazz ensemble band manager, drummer, and Briggs Award recipient, won the position of Editorial Assistant at AAA Auto Club Enterprises, writing articles for their popular magazine, Westways. The February/March edition on Route 66 featured Jeremy’s article on the Los Angeles jazz scene.

Katherine (Kat) Burgstahler ’22 joined Ethan Lee ’24, Emma van der Veen ’21, Hana Burgess SCR ’22, Hannah Zhang CMC ’22, and graduate and medical students from the Weill Cornell Music & Medicine Orchestra, in presenting a benefit concert for the Lopez Island Home and Hospice in May. The program included works by Vivaldi, Schubert, Dvořák, and Bruckner. This second annual Lopez Music Chamber Society event was hosted by Hana and her family. In July, the Honey Quartet convened in Japan for their fourth annual retreat since graduating from the Claremont Colleges. Sara Uehara ’22 hosted the group, arranged their stay in the mountains of Gunma, and helped organize a concert in Tokyo titled “Woven Currents.” Kat, Sara, Hana, and Eric Zhu ’22 performed Glazunov’s String Quartet No. 3, movement 1; Beethoven’s String Quartet No. 7, movement 2; Chausson’s Concerto for Violin, Piano and String Quartet, movement 1; and Kat’s composition Desert Rain.

Lydia Saylor ’18 sang Maurice Ravel’s Chansons Madécasses and songs with piano trio by Amy Beach and Roger Quilter with the Alégria Ensemble in March 2026. In May she sang Aaron Copland’s Twelve Songs of Emily Dickinson with pianist Abhay Saha at Queens College and participated in a program of Baroque music as one of the Tenet Trailblazers. She was also the soprano soloist in the world premiere of David Stern’s Walt Whitman’s Leaves of Grass with the Queens College Choral Society under the direction of James John.

Margaret Hunter ’00 sang the role of the sorceress Alcina in semi-staged performances of Francesca Caccini’s opera La Liberazione di Ruggiero with Capella de la Torre during spring and summer 2026. This fall she will join the ensemble as a soprano soloist in Claudio Monteverdi’s Vespers of 1610.

Will Giammona ’97 appeared as Martin Gray in the Shotgun Players production of Edward Albee’s The Goat, or Who is Sylvia? in March and as Count Carl-Magnus Malcolm in a concert performance of Stephen Sondheim’s A Little Night Music with the Redwood Symphony in May. In August he took the role of Caldwell B. Cladwell in a production of the musical Urinetown at the Ray of Light Theatre.

Lucas Harris ’96 was a member of the faculty of Lute Fest 2026, which took place in Cleveland, Ohio at Case Western Reserve University in June. He was also assistant director for Early Music Vancouver’s production of Monteverdi’s opera Orfeo in July and developed an EMV concert featuring John Dowland’s Lachrymae alongside songs about the therapeutic power of music. In addition to his active performing career, Lucas teaches graduate students at the University of Toronto and Case Western Reserve University and is also on faculty at several other workshops including the Tafelmusik Baroque Summer Institutes, Oberlin Conservatory’s Baroque Performance Institute, and the Canadian Renaissance Music Summer School (lucasharris.ca).

Mark Morouse ’85 played the double role of the Stage Director and Anand in the world premiere of Param Vir’s opera Awakening at the Bonn Opera in March 2026. In the 2026/27 Bonn Opera season he will undertake the role of The Speaker in Mozart’s Die Zauberflöte.

John Stefano ’69, retired Chair of the Department of Theatre and Dance at Otterbein College, will reprise the role of John Adams in concert performances of 1776 presented by the Hilliard Arts Council of Hilliard, Ohio in September.

We hope you will share your music-specific happenings with us for our next Music Gazette. Submit to: audrey.dunne@pomona.edu. Please email broader life submissions to the PC Magazine at: pcmnotes@pomona.edu. 

Editor: Audrey Dunne
Alumni Section: Prof. Emeritus Graydon Beeks
Alumni Spotlight: Judy Hill
Proofing Services: Hayden Eberhart

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