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2009­2010 Season Sponsors

The City of Cerritos gratefully thanks our 2009­2010 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts.


If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at (562) 916-8510.

THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA's Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510.

Benefactor $50,001-$100,000

José Iturbi Foundation

Patron $20,001-$50,000

Audrey and Rick Rodriguez Marilynn and Art Segal Kirsten and Craig M. Springer, Ph.D. Masaye Stafford Charles Wong

Bryan A. Stirrat & Associates The Capital Group Companies Charitable Foundation National Endowment for the Arts Eleanor and David St. Clair

Friend $1-$1,000

Maureen Ahler Cheryl Alcorn Joseph Aldama Sharlene and Ronald Allice Susan and Clifford Asai Larry Baggs Marilyn Baker Terry Bales Sallie Barnett Alan Barry Cynthia Bates Barbara Behrens Aldenise Belcer Yvette Belcher Peggy Bell Morris Bernstein Norman Blanco James Blevins Michael Bley Kathleen Blomo Karen Bloom Marilyn Bogenschutz Linda and Sergio Bonetti Patricia Bongeorno Ilana and Allen Brackett Paula Briggs Darrell Brooke Mary Brough Dr. and Mrs. Tony R. Brown Cheryl and Kerry Bryan G. Buhler Ina Burton Linda and Larry Burton Sue and Tom Buttera Robert Campbell Michael Canup Richard E. Carlburg David Carver Michelle Casey Phillip Castillo Eileen Castle

Partner $5,001-$20,000

Dr. Judy Akin Palmer and Dr. Jacques Palmer Bev & George Ray Charitable Fund Chamber Music Society of Detroit Los Cerritos Center New England Foundation for the Arts Preserved TreeScapes International, Dennis E. Gabrick United Parcel Service Wave Broadband Yamaha

Supporter $1,001-$5,000

Nancy and Nick Baker In Loving Memory of Carol M. Behan Marilynn and James Costantino Viriginia Czarnecki Lee DeBord Susie Edber and Allen Grogan Dr. Stuart L. Farber The Gettys Family Janet Gray Rosemary Escalera Gutierrez Marianne and Bob Hughlett, Ed. D. Robert M. Iritani Dr. and Mrs. Han-Pin Kan Dr. and Mrs. Philip I. Kress Yolanda and Richard Martinez Celia and Clarence Masuo Maureen and Mike Mekjian Robert and Mary Buell Family Trust

Yvonne Cattell Rodolfo Chacon Joann and George Chambers Rodolfo Chavez Liming Chen Wanda Chen Margie and Ned Cherry Drs. Frances and Philip Chinn Patricia Christie Richard Christy Crista Qi and Vincent Chung Rozanne and James Churchill Neal Clyde Mark Cochrane Michael Cohn Claire Coleman Mr. and Mrs. Joseph Consani II Patricia Cookus Nancy Corralejo Virginia Correa Ron Cowan Patricia Cozzini Pamela and John Crawley Eugenia Creason Tab Crooks Angel De Sevilla Charmaine and Nick De Simone Robert Dean Mr. and Mrs. Chuck Deckard Betty DeGarmo Susanne and John DeHardt Erin Delliquadri Rosemarie and Joseph Di Giulio Rosemarie diLorenzo Sandra and Bruce Dickinson Amy and George Dominguez Linda Dowell Robert Dressendorfer Gloria Dumais Stanley Dzieminski Mr. and Mrs. Curtis Eakin Dee Eaton Gary Edward Jill Edwards Carla Ellis Robert Ellis Eric Eltinge Teri Esposito Kim Evans Richard Falb

Renee Fallaha Heather M. Ferber Steven Fischer The Fish Company Elizabeth and Terry Fiskin Louise Fleming and Tak Fujisaki Jesus Fojo Anne Forman Dr. Susan Fox and Frank Frimodig Sharon Frank Teresa Freeborn Roberta and Wayne Fujitani Elaine Fulton Samuel Gabriel JoAnn and Art Gallucci Therese Galvan Arthur Gapasin Gayle and Michael Garrity Jan Gaschen Michael Gautreau Franz Gerich Alan Goldin The Goldsmith Family Margarita Gomez Raejean Goodrich William Goodwin Shirelle Gordon-Thompson Beryl and Graham Gosling Timothy Gower A. Graham and M. Marion Norma and Gary Greene Kenneth Greenleaf Roger Hale Jo and Paul Hanson Mark Harding Lois and Thomas Harris Valerie and Mike Harris Julie and Costa Hase Howard Herdman Saul Hernandez Charles Hess Molly Hickman Charles E. Hirsch Ping Ho Jon Howerton Christina and Michael Hughes Melvin Hughes Jay Hurtado Mark Itzkowitz Grace and Tom Izuhara


Sharon Jacoby David Jaynes Cathy and James Juliani Luanne Kamiya Betty and George Katanjian Roland Kerby Dr. Aaron Kern Fay and Lawrence Kerneen Joanne Kerr Joseph Kienle Carol Kindler James King Jacky and Jack Kleyh Shirley and Kenneth Klipper Karen Knecht Lee M. Kochems and Vincent J. Patti Jerry Kohl Dawn Marie Kotsonis Shirley Kotsonis Ann Kough Bette and Ken Kurihara Linda and Harry Kusuda Patrice and Kevin Kyle Cathy LaBare Carl Laconico Nelson Lane David Latter Earnestine Lavergne Edward Le Blanc June and Harold Leach Paolo Ledesma In Loving Memory of Ethel Lee Peter J. Leets Helen Leonard Jack Lewis Marcia Lewis and John McGuirk Vanessa Lewis Judith and Dr. Henry Louria Nancy and Stephen Lutz Laura and Sergio Madrigal Johnny Magsby Mary Majors Stephen Mao Eleanor Marlow Mary and Donald Martini Janice Kay Matthews Pansy and Robert Mattox Cecilia and Ronald Maus Janet McCarty Aliene Mcgrew Farley McKinney Dr. and Mrs. Donald McMillan David Medellin Ursula and Lawrence Melvin Barbara and Edwin Mendenhall Diana Merryman Todd Meyer

Luzviminda Miguel Hassan Milani Gary Miller Kathleen Miller Dr. Majorie Mitchell Ellie and Jim Monroe Patricia Moore Becky Morales Toni and Tom Morgan David Moromisato Kris Moskowitz Cortland Myers Chidori Nakamura Stan Nakamura Alan Negosian A.J. Neiman Ronald Nichols Jill and Michael Nishida Toby Nishida Linda Nomura Margene and Chuck Norton Cathryn O'Brien-Smith Ann and Clarence Ohara Karen Ohta P. P. Mfg. Co. Inc., Ronald Burr George Palomino Bonnie Jo Panagos Mary Ellen Pascucci Angela and Devy Paul John Peterson Francisco Philibert Frances Pianelli Judith Pickup Merrill Plou Jackie and Joe Polen Forrest Poorman Gwen and Gerry Pruitt Susan Ragone Bijan Ramineh Dr. Marjorie and Frank Ramirez Karen Randall Robin Raymond Kathy Reid Rosalie Relleve Betty and Nash Rivera Sharon V. Robinson Laura and Gary Rose Lynne Rose Patricia Rose Jean Rothaermel Vivian and Tom Rothwell Shirley Rundell Tom Sakiyama Steve Salas and Steven P. Timmons Dennis Salts Monica Sanchez Sheri Sands

Janet and Richard Sax Roberta and Gary Schaeffer Mary Scherbarth Mildred Scholnick Jerome Schultz Mary Serles William Shakespeare Olivette Shannon Kristi Shaw Drs. Mary and Steven Sherman Ron Shestokes Sharon Shulby Kathleen Sidaris Steven Siefert Neil Siegel Maureen and A.J. Siegrist Dorothy Simmons Eric Simpson Loren Slafer Sylvia Sligar Carol and Rob Smallwood Nancy Sur Smith Kevin Speaks Kerry Spears Dan Stange Kris and Robert Steedman Gale Stein Donna Stevens Mr. and Mrs. Dexter Strawther Richard Strayer William R. Stringer A.J. Taen Lawrence Takahashi Nora and Winford Teasley Ken Thompson Karen Tilson Joann Tommy Sharon Touchstone Lilliane K. Triggs Jean Tuohino Maria Tupaz Alex Urbach Mr. and Mrs. L.Van Pelt Tim VanEck Maria Von Sadovszky Diane and Fred Vunak Charles Wadman Laura Walker Robert Walters Angela and Sinclair Wang Karen and Robert Webb Carol Webster and Chris Enterline Darlene Weidner Marijke and Tim Weightman Anita and David Weinstein Sandra Welsh

Helen Williams Lee Williamson Merrillyn Wilson Pornwit Wipanurat Robert Worley Candy and Jim Yee Eunee and Frank Yee Jeanette Yee Basha Yonis Ruthann Yuhas Barbara Yunker Xavier Zavatsky John W. Zlatic

Giving level designations are based on the cumulative giving of the named contributor. Lists are updated twice a year, in July and January. To request a change to your listing, please call (562) 467-8806 or send an e-mail to [email protected] 3





The Easter masterpiece is performed as Johann Sebastian Bach originally intended with solo singers. Musica Angelica re-creates this intimate setting with eight top solo singers.

Friday, March 26, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.



St. John Passion Johann Sebastian Bach (1685-1750)


MUSICA ANGELICA has earned a reputation for programming a mixture of known masterworks along with rarely heard compositions, providing a platform for many of the best Baroque musicians from all across the United States and Europe. Since its 1993 inception, the ensemble has garnered headlines and critical acclaim, with the Los Angeles Times deeming it "a Baroque gem ... a triumph." The Pasadena Star News exalted the "powerful emotions and the clarity and invigorating complexity" of the ensemble's performances. Musica Angelica's worldclass reputation has attracted the likes of guest conductors Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Paul Goodwin, and Jory Vinikour, leading to numerous successful collaborations with the Los Angeles Opera, Long Beach Opera, the J. Paul Getty Museum, the Norton Simon Museum, and the Los Angeles Master Chorale. Appointed music director in the 2005-2006 Season, MARTIN HASELBÖCK has distinguished himself as a respected composer, an acclaimed solo organist, and an orchestral and Opera conductor. The recipient of the prestigious "Deutscher Schallplatten Critics' Prize" and Hungary's "Franz Liszt Prize," Haselböck was praised by the Los Angeles Times for his leadership, which is "nuanced and inspiring." Haselböck frequently guest conducts major orchestras, including the Vienna Symphony, Deutsches Symphonie Orchester Berlin, Hamburg Symphony, the Toronto Symphony, the National Philharmonic Orchestras of Hungary, the Pittsburgh Symphony, the San Francisco Symphony, and the Los Angeles Philharmonic. Musica Angelica's well-received albums include Vivaldi: Concertos for Lute, Oboe, Violin and Strings; George Frideric Handel: Acis & Galatea; and Georg Philipp Telemann: Concerti. TILMAN LICHDI (Tenor/Evangelist) started singing lessons at age 18 in Stuttgart, Germany; studied the trumpet in Mannheim; and completed his voice studies in 1999 in Würzburg, Germany. He has sung in oratorios with conductors Christoph Poppen, Wolfgang Gönnenwein, and Jörg Straube, and is devoted to the Evangelist's parts of Bach's passions and oratorios. Lichdi recently performed Joseph Haydn's Creation with Christof Perick in Charlotte, North Carolina, and Bach's St. Matthew Passion with Kent Nagano in Brazil. Lichdi has performed with the Opera companies of Würzburg, Heidelberg, Flensburg, Kaiserslauterm, Mannheim, and the Munich Biennale, and is a member of the Nuremberg State Theatre. His 2009 performance highlights include Claudio Monteverdi's 1610 Vespers at the Chatelet Paris, and a tour of Italy and Spain with Ton Koopman and the Amsterdam Baroque Orchestra in Bach's St. Matthew Passion. MARY WILSON (Soprano) is recognized as one of today's most exciting young sopranos, cultivating a wideranging career in Chamber music, oratorio, and Operatic repertoire. Her recent performances include George Frideric Handel's Messiah with the Cleveland Orchestra and Carmina Burana with the Detroit Symphony in Leonard Slatkin's inaugural performance as music director. Wilson sang Felix Mendelssohn's Lobgesang and selections from Ludwig van Beethoven's Leonore with the Kansas City Symphony and Nicholas McGegan. She also sang Giovanni Battista Pergolesi's Stabat Mater and virtuoso Handel duets with American Bach Soloists in its 20th Anniversary Season. Wilson has performed with the Santa Fe, Portland, and St. Louis Symphony orchestras and the St. Paul Chamber Orchestra. She sang at the Florida Bach Festival and performed Bach's B-minor Mass with the Los Angeles Master Chorale and Musica Angelica led by Grant Gershon. CATHERINE WEBSTER (Soprano) performs internationally with early music and Chamber ensembles; has soloed with Tafelmusik, Tragicomedia, Netherlands Bach Society, Apollo's Fire, Magnificat, Studio de Musique Ancienne de Montreal, and Early Music Vancouver; and has appeared in the Berkeley, Montreal, and Boston Early music festivals. She collaborates frequently with Baroque Opera directors Stephen Stubbs and Paul O'Dette in


Boston and Vancouver. In Contemporary music, Webster performed Terry Riley's Sun Rings with the Kronos Quartet and John Adam's Grand Pianola Music with Theatre of Voices and the Los Angeles Philharmonic. Webster has recorded for Harmonia Mundi, Naxos, Musica Omnia, Analekta, and Atma. She holds a master of music degree from Indiana University and has been a guest faculty member for The San Francisco Early Music Society and the Madison Early Music Festival. KRISTEN TOEDTMAN (Mezzo-Soprano) is a performer of many styles who sings with the Los Angeles Master Chorale and Concord Ensemble. She most recently appeared as an alto soloist with Musica Angelica at the Walt Disney Concert Hall in the Master Chorale's concert of St. Matthew Passion. Toedtman holds a vocal performance master's degree from the Peabody Conservatory and a bachelor's degree from Indiana University where she studied with Martina Arroyo and sang with the Pro Arte Singers. Toedtman recorded with Pro Arte Singers and Theatre of Voices under Paul Hillier on the Harmonia Mundi label. Toedtman toured the East Coast with Baltimore Consort member Mark Cudek as Duo Encina. Toedtman left Baltimore when asked to compose the score for a play in Los Angeles. When she is not singing Classical music, she plays regularly at the Hotel Café with her seven-piece band and just released her debut record The Fall. IAN HOWELL (Counter Tenor) won First Prize at the 2006 American Bach Soloists International Solo Competition and Third Prize at the Oratorio Society of New York's Vocal Competition. His debut solo CD, 1685 and the Art of Ian Howell with The American Bach Soloists, was released in 2009 and features repertory by Domenico Scarlatti, Bach, and Handel. Howell recorded a DVD and eight CDs with Chanticleer, receiving a Grammy Award and a second nomination. The current season includes his solo debuts with the Ravinia Festival, Handel Choir of Baltimore, New York Metamorphosis Orchestra, Chatham Baroque, Columbus Guitar Society, and the Staunton Music Festival. Howell holds a master of music degree in voice from the Yale Institute of Sacred Music and Yale School of Music. PABLO CORÁ (Tenor) is an accomplished soloist and Chamber musician with advanced music degrees from Ithaca College and Indiana University. He has performed at the Argentine Colón Theatre, Amsterdam Concertgebouw,

Lincoln Center for the Performing Arts, Weill Recital Hall, Brooklyn Academy of Music, Dorothy Chandler Pavilion, and Walt Disney Concert Hall. Corá sings regularly with the Concord Ensemble, the Los Angeles Philharmonic, Los Angeles Master Chorale, Los Angeles Chamber Singers, and Cappella. He collaborates with period ensembles such as the Folger Consort, Piffaro, Camerata Pacifica Baroque, and the Catacoustic Ensemble. Corá has recorded for Harmonia Mundi, Dorian Recordings, Nonesuch, and on the Grammy award-winning recording Padilla: Sun of Justice for Gothic Records. MICHAEL DEAN (Bass-Baritone) appears with leading Opera houses and orchestras throughout the United States and Europe, including New York City Opera, the Landestheater in Austria, and in Strasbourg and Berlin. He made his New York Philharmonic debut in the world premiere of Aaron Kernis' Garden of Light and returned the following season for Street Scene. Dean has performed Handel's Messiah at Carnegie Hall with the Pittsburgh, Houston, Monterey, and Nashville symphonies and with Boston Baroque. He recently performed Haydn's Creation at the Kennedy Center, Bach's Magnificat with the Toronto Symphony, Carmen with the Buffalo Philharmonic, and Bach's Cantatas at the Walt Disney Concert Hall with Helmut Rilling and the Los Angeles Chamber Orchestra. Dean is on the voice faculty of University of California, Los Angeles, and has received critical praise for his recordings of Baroque Opera. SCOTT GRAFF (Bass-Baritone) performs throughout the United States as a soloist and in California with the Los Angeles Philharmonic, Musica Angelica, Catacoustic Consort, Los Angeles Master Chorale, Carmel Bach Festival, and the Los Angeles Baroque Orchestra. His frequent appearances with Long Beach Opera include Handel's Semele, Seven Small Operas (a staged version of a Monteverdi madrigal), Il Turco in Italia and Il Tabarro by Giacomo Puccini, Volo di Notte by Luigi Dallapiccola, and From the House of the Dead by Leos Janácek. He originated the roles of Lewis and Father Tree in the Opera Hell by composer Michael Webster and librettist Eileen Myles. Graff is in his ninth season with the Los Angeles Master Chorale and sings regularly with the Los Angeles Chamber Singers, Millennium Consort, and as a member of The Concord Ensemble.



During the Middle Ages, the practice arose of having a single voice chant the Easter story while other solo voices chanted the words of the protagonists in the drama. At a later stage the crowd scenes were allocated to a choir and, later still, reflective arias were interpolated. Johann Sebastian Bach stands at the end of this tradition, and it is only the superb quality of the music that distinguishes his St. John Passion from many others in a similar mold. Throughout the 20th century, we have inherited a performance tradition that stretches back only as far as Felix Mendelssohn in the mid-19th century. In tonight's performance we have attempted to return to the spirit of Bach's original conception by using performing forces and acoustics similar to those for which the work was written. The use of Baroque instruments and a string band of a similar size to Bach's means that many parts can be heard that are usually lost in the wash of string tone. Bach's St. John Passion is set in two acts, originally separated by the pastor's hour-long sermon (now replaced by the modern intermission). The first act tells of Jesus' arrest in the garden and Peter's denial of his discipleship. The second act details Jesus' interrogation, flagellation and condemnation, his crucifixion, death, and burial. Bach performed the St. John Passion four times during his 25 years in Leipzig, Germany, slightly altering his composition each time. In other years, he presented passions based on the Gospels of St. Matthew, St. Mark, and St. Luke. The St. John Passion and St. Matthew Passion are the only ones that survive. The St. John Passion focuses on Jesus' divinity and homecoming rather than the pain and conflict of his mortal life. He has foreknowledge and welcomes his fate. The crucifixion (not the resurrection) is therefore the climax of the Gospel. It is through death that Jesus returns, victorious, to God his father. Bach doesn't set Jesus' resurrection in the St. John Passion. From the very beginning of the Passion, Bach illustrates this Johannine belief that glorification is inextricably linked with abasement, pitting the wind instruments' sustained, tortured dissonances (representing crucifixion) against the rapid-movement rising figure in the strings (symbolizing the glorification of God). Bach develops these musical and conceptual themes throughout the Passion, transferring both motives to the choir in the kreutzige movements.


Bach's symbolism is evident throughout the score. The initial appearance of Jesus with his 12 disciples sees the number 13 being worked into the score in many ways. After Judas kills himself, twelves start to appear and, after the crucifixion, elevens. At the mention of the law the fugue subject enters 10 times (referring to the Commandments), and the whole work is in 40 movements corresponding to the 40 days of Lent. All modern performing editions renumber the movements 1 to 68 and destroy the internal symmetry. The Evangelist is an impassive narrator, but appears to become emotionally involved despite himself for two short periods of the work ­ Peter's denial and the scourging of Jesus. At various points the performers comment on the drama with an aria or a chorale. It seems highly unlikely that Bach's congregation joined in the chorales. They were not contained in their book of words, and are written well outside the vocal range that Bach considered suitable for congregational singing. The whole work is enclosed by the mighty pillars of the opening and closing chorus (Bach omitted the final chorale in one performance), both of which are packed with symbolism. However, detailed notes on the individual movements are probably unnecessary, since the work is basically the telling of a story. It is for this reason that we have decided to perform it in English. Bach was hired by the Leipzig town council to incite the listeners to devotion. He believed that the aim and final reason of all music should be the honor of God and the refreshing of the mind. n






Saturday, March 27, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.


Father and son DAVID AND DENNIS KAMAKAHI, hailed for their work on the hit movie Lilo & Stitch and the Grammy-nominated album Hawaiian Slack Key Kings, team up again to deliver their prize-winning island tunes. One of Hawaii's most prolific composers, slack key guitarist Dennis Kamakahi is the mastermind behind famous Hawaiian standards such as Wahine Ilikea, Pua Hone, Koke'e, and E Hihiwai. Praised by the Los Angeles Times for his "sweetly lyrical voice," the Hawaiian Music Hall of Fame inductee is also the recipient of Na Hoku Hanohano's "Slack Key" Award. The Na Hoku Hanohano honor is Hawaii's equivalent of the Grammy. Ukulele guru David Kamakahi taught himself how to play the instrument at age 15 by listening to recordings by ukulele masters including Eddie Kamae, Peter Moon, Lyle Ritz, Byron Yasui, and Ledward Kaapana. Honored with the Pono Beamer Award for excellence in Hawaiian music, David Kamakahi also garnered a Na Hoku Hanohano Award for "Best Contemporary Album of the Year" for his debut solo project Pa'ani. The Los Angeles Times called his music "mellow and appealing." Recipients of the prestigious Na Hoku Hanohano Awards, father-and-son duo GEORGE AND KEOKI


KAHUMOKU show off the guitar wizardry that earned them two consecutive Grammys for the albums Masters of Hawaiian Slack Key Guitar and Legends of Hawaiian Slack Key Guitar ­ Live From Maui. Long called Hawaii's "Renaissance Man," George Kahumoku, Jr. began performing professionally at age 13 with legendary singer-songwriter Kui Lee. George Kahumoku, Jr.'s album Hi'ipoi I Ka `Aina Aloha (Cherish the Beloved Land) garnered a Na Hoku Hanohano Award and his 2009 compilation The Spirit of Hawaiian Slack Key Guitar was nominated for a Grammy. Maui Time said his "recordings are inspired works from soulful hands that transcend time and style." The Los Angeles Times saluted fifth-generation slack-key guitarist Keoki Kahumoku for his ability to deliver "original songs with the compelling qualities of a born storyteller." Also noted for his ukulele skills, the musician "raises the bar and glows anew," heralded the Honolulu Advertiser. A collaborator on two Grammy-nominated albums ­ Treasures of Hawaiian Slack Key Guitar and The Spirit of Hawaiian Slack Key Guitar ­ Keoki Kahumoku also worked on Hula! Big Island Style, which was nominated in 2005 for a Na Hoku Hanohano Award for "Compilation Album of the Year." n

OPUS 3 ARTISTS presents




Wednesday, March 31, 2010, 7:30 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited. Please hold your applause until after all movements of a work have been performed and do not applaud between movements. Thank you for your cooperation. As a courtesy to the performers and fellow patrons, please mute all cell phones, pagers, and watch alarms prior to the start of the performance.



Sonata in e minor, Op. 38 Allegro non troppo Allegretto quasi Menuetto Allegro Sonata No. 4 in C Major, Op. 102, No. 1 Andante ­ Allegro vivace Adagio ­ Tempo d'Andante ­ Allegro vivace Sonata in g minor, Op. 19 Lento ­ Allegro moderato Allegro scherzando Andante Allegro mosso Johannes Brahms (1833-1897)

Ludwig van Beethoven (1770-1827)

Sergei Rachmaninoff (1873-1943)

Jon Kimura Parker is a Steinway Artist. Exclusive Management: OPUS 3 ARTISTS 470 Park Avenue South New York, NY 10016



Since his Juilliard days and his Carnegie Hall debut at age 17 with the New York Philharmonic Orchestra, cellist LYNN HARRELL has wowed audiences worldwide, earning acclaim and a long string of honors. The New York Times called him "an instrumentalist so confident in his own warmth and resonance." A recipient of the first Avery Fisher Award and the Piatigorsky Artist Award, Harrell has performed globally with accomplished orchestras, including the Los Angeles Philharmonic and London's Royal Philharmonic Orchestra. He has collaborated with noted figures in the music industry, including Michael Tilson Thomas, Zubin Mehta, André Previn, and Itzhak Perlman. In 1981, Harrell received the first of his two Grammy Awards for "Best Chamber Music Performance" with the Tchaikovsky: Piano Trio in a minor album. In 1987, his Beethoven: The Complete Piano Trios won a Grammy Award. Canadian-born pianist JON KIMURA PARKER shines with "infectious enthusiasm and dazzling dexterity," hailed the Detroit Free Press. The New York Times concurred, citing the pianist's "steely-fingered precision and dynamic virtuosity" and calling him an "insightful, energetic soloist." Parker's illustrious career has taken him from New York's Carnegie Hall and the Sydney Opera House to Baffin Island and Zimbabwe. Called "a pianist with the deftest of touches" by The Washington Post, he has played for royalty, world leaders, and U.S. Supreme Court justices. Parker gained critical acclaim performing with leading U.S. orchestras, including the New York Philharmonic, the Cleveland Orchestra, and the Philadelphia Orchestra. His international reach is equally strong, affirmed by appearances with the prestigious Warsaw Philharmonic and the NHK Tokyo Orchestra. An officer of the Order of Canada, the country's highest civilian honor, Parker also is the Gold Medal winner of the 1984 Leeds International Piano Competition. invaluable insight into a composer's creative process; for example, Ludwig van Beethoven often had great difficulty crafting themes. Not Johannes Brahms. What he left were finished products, often late revisions of youthful endeavors, and ashes in the fireplace of compositions that had not met his own perfectionist standards. No one knows how many Chamber works Brahms wrote and discarded before he agreed to publish his first in 1854, the Piano Trio in B Major. According to his own claim, perhaps a little exaggerated, he made 20 attempts at quartet writing before he was finally satisfied. Sonata in e minor was Brahms's first duo sonata that he deemed worthy of publication. He composed three movements in 1862, but a hectic schedule of engagements as a pianist forced him to put the incomplete work aside and he was not able to finish it until 1865. At that time, he discarded an Adagio and added the fugal finale. Brahms dedicated the Sonata to Austrian cellist and singing teacher Josef Gensbacher (1829-1911), a professor at the Vienna Conservatory. Gensbacher was instrumental in facilitating Brahms' appointment as conductor of the Wiener Singakademie, Vienna's foremost lay choir at the time. Brahms was coy about showing the discarded Adagio even to his dear friend Clara Schumann. As late as 1930, the manuscript for an Adagio for cello and piano was still extant, but has since disappeared. Among the unusual features of this work is its persistent use of e minor for all the movements. In later works, Brahms usually offset the minor mode with one movement in a major key. The key of the missing Adagio is unknown. Throughout the first movement, the cello plays mostly in its lower register, emphasizing the brooding, somber mood of the principal theme. Although composed in classic sonata Allegro form, the second theme does not present a significant contrast in mood. The piano, however, makes use of its full range, clearly the equal partner of the cello. In the second movement, marked Allegretto, quasi Minuetto, the word "quasi" (almost) should not be taken lightly. The movement lies somewhere between a Minuet and a Waltz, the heavily accented first beat of every measure removing it from its Classical antecedent. The final fugue pays homage to Johann Sebastian Bach's Art of the Fugue. The fugue subject is strongly reminiscent of Contrapunctus XIII (inverted), with its downward leap of an octave and relentless triplets.



Sonata No. 1 in e minor, Op. 38 Johannes Brahms (1833-1897) Over the last 300 years, many composers have left a paper trail, making it possible to trace the evolution of their compositions and style. These trails often include fragments, early versions, and/or sketches of compositions. Scholars have gained


Sonata No. 4 in C Major, Op. 102, No. 1 Ludwig van Beethoven (1770-1827) One of the more fascinating documents found among Ludwig van Beethoven's papers after his death was a love letter addressed to the Unsterbliche Geliebte (Immortal Beloved), written in 1812 to an unnamed recipient. Candidates for the identity of the beloved are numerous. One of them was Countess Maria Erdödy (1779-1837) who was an excellent pianist and long-time close friend and patron of the composer. Beethoven lived in her house in 1808, and by 1812 the Countess was separated from her husband due to irreconcilable differences. Beethoven dedicated Piano Trios No. 1 and 2, Op. 70 and Sonatas No. 4 and 5, Op. 102 to the Countess. Unlike the technically simpler Op. 69 sonata written for the amateur cellist Count Ignaz von Gleichenstein, the two Op. 102 sonatas were intended for one of the best cellists in Vienna, Joseph Linke, a former member of a string quartet employed by Count Razumovsky, to whom Beethoven dedicated the three Op. 59 quartets. The quartet was disbanded when Razumovsky's palace burned down. At the time when the Op. 102 sonatas were completed, Beethoven had 12 more years to live, during which time he composed only 35 more major works. Although his severe hearing loss has been cited as a possible cause for his reduction in productivity, another factor plays a more important role. As a creative artist, Beethoven was seeking to develop his musical language beyond the harmonic and formal constraints of the Classical style. His final works explored new musical territory, particularly in structure and harmony. After 1820, most of the works belong to the so-called "late period," including Symphony No. 9 (1822-1824), the five last piano sonatas (Op. 101, 106, 109, 110, 111), and late string quartets, his final masterpieces. Since Beethoven's first biographers, scholars have cited this cello sonata as a foretaste of his late style. Beethoven described the Sonata in C Major as Freje [sic] Sonate (free sonata), a verbal admission of its digression from Classical form and its deliberate quirkiness. The work is in two movements, each opening with a long, slow introduction. The relationship between the cello and piano is frequently contrapuntal ­ but without a fugue ­ placing the piano in equal partnership with the cello. The two introductions are in the style of a fantasy, containing cadenza-like passages for both instruments. Both Allegros are in sonata form, but with odd and unexpected key relationships and modulations so sudden and unexpected that even a modern audience will still find them surprising. Between the two movements, Beethoven brings back the theme


from the opening, a practice he expanded on later in the final movement of Symphony No. 9 to include the main themes from all the preceding movements. Sonata in g minor, Op. 19 Sergei Rachmaninoff (1873-1943) In 1895, Sergei Rachmaninoff felt confident enough to compose a symphony. In 1897, he premiered his symphony in St. Petersburg, but it was a dismal failure. Rachmaninoff's earlier defeats produced creative defiance that led to severe depression. For three years, he was unable to do any significant composing. Rachmaninoff finally sought therapy and hypnosis in 1900. The result was one of the first well-known successes of modern psychotherapy and the composer was able to return to creative work. After treatment, Rachmaninoff produced Piano Concerto No. 2, Op. 18 and Cello Sonata, Op. 19, however, relapses into depression dogged the composer for the rest of his life. Significantly, all of his large instrumental compositions are in minor keys. During his early career as a pianist, Rachmaninoff collaborated frequently with the noted Russian cellist Anatoly Brandukov. This collaboration taught him the technical intricacies and capabilities of the cello, and it is for Brandukov that Rachmanioff wrote his Two Pieces, Op. 2 in 1892 and the Cello Sonata in 1901. Rachmaninoff's brilliance as a pianist is reflected in this work. It is densely scored and requires enormous virtuosity from both performers. The piano part is as spectacular and every bit as difficult as the cello, the two instruments operating as partners and competitors. The musical language is in the grand Romantic manner of the late 19th century, especially reminiscent of Franz Liszt and Peter Ilyich Tchaikovsky. This piece opens Lento, with the cello in a subdued and uncertain mood, until the piano propels it forward with a rush into the Allegro moderato, nearly drowning the singing cello; but the cello's lyrical tone is never completely overwhelmed. In the second movement, Scherzando, the piano initially relegates the cello to a continuo role, but the latter comes back with an extended joyful melody until the descending piano melody takes over again. It is in the third movement, Andante, that the cello really dominates. The romantic melody ­ passionate and tender ­ is first introduced by the piano before the cello sings its way in. The finale, Allegro mosso, starts in a frenetic rush, but slows down for a second theme on the cello, which is as romantic as the Andante. This gentle theme interrupts the fast tempo twice more, before both instruments accelerate to the end. n





Friday, April 2, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.


Formed in 1975 to preserve the Cajun musical heritage, the Grammy-winning BEAUSOLEIL AVEC MICHAEL DOUCET has established a reputation for its innovation. The group's artful blend of Louisiana's rich Cajun traditions and catchy elements of New Orleans Jazz, Tex-Mex, Zydeco, Country, and the Blues has tantalized audiences at venues such as the Grand Ole Opry and events such as the Newport Folk Festival. Offbeat magazine summed it up: "BeauSoleil is doing what Cajun musicians have always done: They're listening to the radio in their heads and turning it into new Cajun music. But ... the radio in their heads plays Rock 'n' Roll, Caribbean music, Jazz, Swamp Pop, and more ..." Nominated 11 times for Grammy Awards, the Cajun music trailblazers have won twice. BeauSoleil's Live at the 2008 New Orleans Jazz & Heritage Festival was chosen "Best Zydeco or Cajun Music Album" while L'amour ou la Folie (Love or Folly) garnered the "Best Traditional Folk Album" trophy in 1997. BeauSoleil's acclaimed catalogue includes the Grammy-nominated CDs Cajunization, Gitane Cajun, and the latest album Alligator Purse.

HOT 8 BRASS BAND, whose "defiant swing" has been hailed by The New Yorker and declared "very danceable" by All About Jazz, has epitomized New Orleans street music with its energetic fusion. The group's exciting blend of modern styles and Brass standards transcends genres and audiences, drawing accolades and acclaim. "To hear the Hot 8 Brass Band mixing old-fashioned oompah with Latin and Hip-Hop beats was to hear the continuity of a culture that faces its troubles with rhythm and flamboyance," hailed The New York Times. Founded in 1995, Hot 8 Brass Band is renowned for its boundless energy and a revved-up sound that incorporates rejuvenated streaks of Funk, Hip-Hop, Jazz, and Reggae grooves. The group gained national exposure after Hurricane Katrina for its work to bring music to evacuee shelters, temporary trailer parks, and U.S. communities that have provided temporary housing to displaced New Orleanians. Hot 8 Brass Band's role in the rebuilding effort was featured prominently in The New York Times and on CNN, ABC's Nightline, and Spike Lee's celebrated documentary When the Levees Broke: A Requiem in Four Acts. n






Saturday, April 3, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.


RICK DERRINGER conquered the music charts with the smash hits Hang on Sloopy and Rock and Roll, Hoochie Koo. He has collaborated with some of the industry's biggest talents, including Alice Cooper, Cyndi Lauper, Barbra Streisand, and the group Kiss. Derringer discovered and produced Weird Al Yankovic's parodies of the Michael Jackson hits Eat It and Who's Fat. Derringer wrote, produced, and performed the World Wrestling Federation's albums, including Hulk Hogan's theme song I Am a Real American. EDGAR WINTER GROUP shot to fame with the Top 15 single Free Ride and the No. One hit Frankenstein from the 1973 Platinum album They Only Come Out at Night, which reigned the Billboard charts for 80 consecutive weeks. Frankenstein pioneered the use of the synthesizer as a lead instrument, revolutionizing Rock 'n' Roll by introducing endless possibilities with experimentation and sound. Edgar Winter Group's songs have been featured on the box-office hits Tropic Thunder, Encino Man, What's Love Got to Do With It, and the Oscar-winning comedy My Cousin Vinny. The song Dying to Live, featured on the soundtrack of Tupac Resurrection about the life of rapper Tupac Shakur, climbed to the Top Five on Billboard's R&B/Hip Hop singles chart. National television and radio campaigns have relied on Winter's vast repertoire to promote their products and causes. Winter has appeared in the film Netherworld and on the television shows The Cape, Mysterious Ways, Late Show With David Letterman, and Jimmy Kimmel Live. n


presents a Performance Partner Program


Creator, Producer, and Director DANNY CHANG Choreographer and Costume Designer ANGELA CHANG Production Director RANDY S. WILLIAMSON Administrative Director JESSIE S. CHANG Technical Assistant JAMIE A. KEATING Company Assistant DICK LIU



There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.



ACT I Thousand Hand Dance, Contortion ACT II Swaying Board Balancing, Table Hoop ACT III Umbrella Juggling, Table/Jar Juggling, Ball Juggling, and Hat Juggling ACT IV Power Act ACT V Spinning Wheel



ACT I Teeter Board Balancing ACT II Pas de deux (Ballet duo) ACT III Diablo Yo-Yo ACT IV Tower of Chairs ACT V Flags, Bicycle Family ACT VI Finale Program subject to change.



The GOLDEN DRAGON ACROBATS group has toured the United States since 1978, making its well-received Broadway debut in 2005. The ensemble has delighted fans and critics internationally with sold-out shows, earning New York Drama Desk Award nominations for "Best Choreography" and "Unique Theatrical Experience." The troupe's performances, filled with gravity-defying stunts and amazing bodily contortions, prompted The New York Times to hail: "The spectacle wasn't created by magic, but through the strength and articulation of the body. And that's what made it magical." A tradition that dates back more than 2,000 years, when it first captivated China's powerful emperors, acrobatics has evolved into one of the most popular entertainment forms in Asia. In its early unorganized form, acrobatics were performed with everyday items used as props ­ chairs, plates, and jars. These rudimentary acts of acrobatics became more complex and challenging in nature with each year, eventually incorporating musical accompaniment. During the Tang Dynasty's rule, acrobatics had blossomed into a popular form of entertainment, demanding acute precision and amazing skills. Stunning visual displays of dance, Opera, martial arts, and sports eventually were added to enhance the entertainment value. Today, audiences worldwide embrace Chinese acrobatics and its tribute to the country's rich history and culture. n





Friday, April 23, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited. The company is supported by the Danish Ministry of Culture and the regional institution CphT ­ Copenhagen Theatre. The U.S. tour is sponsored by the Danish Arts Council Committee for the Performing Arts Exclusively represented in North America by Laura Colby, Director Elsie Management (718) 797-4577



Shadowland Dancers: Choreographer: Lighting design: Video design: Music, lyrics, and sound: Ana Sendas, Minna Berglund, Luca Marazia, Csongor Szabó, Kang Ma, and Nelson Rodriquez-Smith Tim Rushton Mikael Sylvest Signe Krogh Ken Nodine, Jack Kerouac, Allan Ginsberg, Lydia Lunch, Maggie Estep & The Splitters, Mark Sandman, Billy Conway, and Morphine

Lyrics and music from the Beat generation inspired Tim Rushton to capture a third dimension of the experience of dance ­ where every art form is equal. As words, music, and dance fuse into a free flow of impressions, the choreographer creates an intense and magical universe where ironic, yet sincere, fragments of daily life's banalities and paradoxes are exposed. Shadowland is based on the Beat generation's poetry with Allen Ginsberg's Holy! Holy! ... at the center. Like a choreographic Speakers' Corner, each of the five scenes stands for its own mood and earnest, playful, or intense point of view. From Sydney to Montreal, Shadowland has received much acclaim. With its clear choreographic structure, interacting with the luscious words from original recordings of '60s Beat poets, Rushton and video designer Signe Krogh have created a unique space in which the dancers move through abstract, pure dance, and gesture.

Enigma Dancers: Nassim Meki, Ana Sendas, Minna Berglund, Luca Marazia, Alessandro Sousa Pereira, Csongor Szabó, Kang Ma, and Nelson Rodriquez-Smith Tim Rushton Thomas Bek and Jacob Bjerregaard Johann Sebastian Bach and Mathias Friis Hansen

Choreographer: Lighting design: Music:

Enigma is the Greek word for "riddle." It is also the name of the electro mechanical encryption machine used by the Nazis during World War II to code and decode messages. Since we were young, we have been taught to read the signs of well-defined and recognizable structures from our surroundings. Knowing the codes and acting accordingly gives us a feeling of acceptance and confidence, but if we cannot interpret and decode the signals, we experience a state of chaos. On the other hand, we may be so possessed by "understanding" and "mapping" that we totally lose our sense of intuition. To comprehend what is directing us is the essence of the choreography. Enigma is inspired by the cello suites of Johann Sebastian Bach. Rushton is very fond of Bach because the music has many levels and so much beauty ­ a beauty that goes very deep while containing several immanent contradictions. INTERMISSION



Dancers: Choreographer: Lighting design: Music:

Luca Marazia, Alessandro Sousa Pereira, Csongor Szabó, Kang Ma, and Nelson Rodriquez-Smith Tim Rushton Mikael Sylvest Andy Pape

CaDance is a subtle game for four to five male dancers. As clockwork, the music measures time in this minimalist composition by Andy Pape. The dancers' bodies are like drum sticks ­ with minor, precise, and bone-dry movements. They await each other and then, in a split second, attack with unexpected punctuality. CaDance starts with music as the driving force and develops into a virtuoso competition among the men.

Kridt (Chalk) Dancers: Luca Marazia, Alessandro Sousa Pereira, Csongor Szabó, Kang Ma, Nelson Rodriquez-Smith, Nassim Meki, Ana Sendras, and Minna Berglund Tim Rushton Anders Poll Charlotte Østergaard Peteris Vasks

Choreographer: Lighting design: Costume design: Music:

While hearing the sound of someone scratching writings on a wall, a man lies on the floor preparing to meet his fate. Eyes meet, then the body's memory takes over the story. Rushton's inspiration for creating Kridt was a text from the Bible as the thematic pivotal point: "To everything there is a season and a time to every purpose under heaven" (Ecclesiastes 3:17); and the epistle of the Christmas message, "peace on earth." The composer expresses not only his confident hope for the solution to incompatibilities, but also his doubts. The work ends in a darkening, aggressive mood, but finally a soft, persistent hymn breaks through a response of confidence and a symbol of maintaining the world in balance. Kridt received the most acclaimed Danish theater award, the Reumert prize for "Best Dance Production of the Year" in 2005.



Established in 1981, DANISH DANCE THEATER bridges the gap between the Contemporary and Classical realms. Known for its technical prowess, the troupe has earned acclaim throughout Europe, Australia, the Middle East, and North America for its ability to push borders and test conventional perceptions of dance. Danish Dance Theater has become one of the most prominent Modern dance companies in the world. The Boston Globe applauded the ensemble as "elegant and eclectic" while The Boston Herald said Danish Dance Theater is so "entirely original" that it "cannot be compared to anything from the American modern tradition." Under the guidance of artistic director-choreographer Tim Rushton since 2001, Danish Dance Theater has become one of the most prominent Modern dance companies in the world. The company has gained an international presence for its aesthetic and almost airy choreographies that reflect on the nuances of human relationships. Rushton paved the way for the troupe to perform at prestigious venues and events such as the Sydney Opera House, Copenhagen Royal Theatre, Toronto's Harbourfront Centre, and the famed Jacob's Pillow Dance Festival. "Rushton knows how to make things happen," praised The New York Times. He "has a movement language that is controlled, unhurried and precise," observed The Australian. TIM RUSHTON (Artistic Director and Choreographer) received his formal training at the Royal Ballet School in London. The British-born choreographer came to Copenhagen, Denmark, to dance with the Royal Danish Ballet, but he stayed on to direct and choreograph. Rushton has the Classical Ballet lines, but as a choreographer, he allows his need for the Modern to dominate. His choice of music is complex and his aesthetic framework is clean and simple ­ from flowing water in Animal Park (2006) to an enormous blackboard in Kridt (Chalk, 2005). NASSIM MEKI (Dancer), a native of Sweden, studied at the Royal Swedish Ballet from 1996 to 2006 and is the newest company member with Danish Dance Theater. ALESSANDRO SOUSA PEREIRA (Dancer) was born in Brazil in 1983. He trained at Galpao 1 Dance School in Indaiatuba, Saö Paulo, and has been a company member since 2007. CSONGOR SZABÓ (Dancer), a native of Hungary, studied dance at Ballet Secondary School of Arts in Györ and at the Academy of Film and Dramatican Arts in Budapest. He joined the company in 2007. KANG MA (Dancer) was born in China in 1981. He received his formal training at the Beijing Dance Academy and has been a company member since 2008. LUCA MARAZIA (Dancer) is from Italy, where he trained at the Rome Opera Dance School. He also studied at L'école-Atelier Rudra-Béjart in Lausanne, Switzerland. Marazia joined the company in 2005. NELSON RODRIQUEZ-SMITH (Dancer), from Columbia, received his training from Stockholm's Ballet Akademi, the Danish National School of Contemporary Dance, and Rotterdam Dance Academy. He has been a company member since 2007. MINNA BERGLUND (Dancer), a native of Sweden, studied dance at the Skolen for Moderne Dance and joined Danish Dance Theater in 2009. ANA SENDAS (Dancer) is from Portugal, where she received her formal training at Academia de Dança Contemporânea de Setúbal. She has been a company member since 2009. n

On Stage

Advertising Opportunity

The Cerritos Center for the Performing Arts (CCPA) is now accepting advertising space reservations for the On Stage program. Each issue of the program is distributed to approximately 15,000 patrons. Placing an advertisement in On Stage for the entire season provides an opportunity to reach more than 135,000 theater patrons. The CCPA attracts patrons from throughout Orange, Los Angeles, and Riverside counties. Patrons have the discretionary income to enjoy dining and shopping excursions before and after attending performances. For more information about advertising in On Stage, please call Account Executive Anna Jones at (562) 916-8510, extension 2520.





Saturday, April 24, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited. Please hold your applause until after all movements of a work have been performed and do not applaud between movements. Thank you for your cooperation. As a courtesy to the performers and fellow patrons, please mute all cell phones, pagers, and watch alarms prior to the start of the performance.



Don Quixote Suite Overture Minuets I and II La Vielle Sicilienne avec Cadence Rondeau Bourees I and II Gigue Sonata for Strings Allegro Presto Lento Allegro molto INTERMISSION Georg Philip Telemann (1681-1767)

William Walton (1902-1983)

Chamber Symphony Largo Allegro molto Allegretto Largo Largo

Dmitri Shostakovich (1906-1975)

Artists appear by arrangement with MCM Arts and Entertainment


Featuring the Big Apple's most exceptional players, the STRING ORCHESTRA OF NEW YORK CITY (SONYC) has been called a "feisty string orchestra" by The New York Times, which cited the ensemble's "appealing deftness" and knack for forging exciting connections with audiences. The recipient of the "Meet the Composers Residency Grant" and the "Aaron Copland Fund for Music Recording Grant," SONYC performs regularly at New York's Carnegie Hall and Merkin Concert Hall. SONYC, which consists of award-winning Chamber musicians and soloists, possesses "a full, radiant sound ... expressive and smart," hailed the New York Sun. The ensemble's unique conductor-free set-up gives each individual an opportunity to contribute to the artistic process. The result is a group that exhibits the flexibility and intimacy of a string quartet with the power and scope of a full orchestra.



THE TICKET OFFICE is open 10 AM to 6 PM Monday through Friday and 12 Noon to 4 PM on Saturday. Hours are extended until one-half hour past curtain on performance days. TICKETS can be charged to Visa, MasterCard, Discover or American Express by phoning (800) 300-4345 or (562) 916-8500, or online at Mail orders are processed as they are received. Tickets cannot be reserved without payment. LOST TICKET AND TICKET EXCHANGE policies vary; however, there are no refunds. Call (800) 300-4345 for information. GROUPS of 20 or more may purchase tickets at a 10% discount. Call (800) 300-4345. CHILDREN'S PRICES apply to children twelve (12) years of age and under. Regardless of age, everyone must have a ticket, sit in a seat, and be able to sit quietly throughout the performance. We do not recommend children under the age of six (6) attend unless an event is specifically described as suited to that age. FREE PUBLIC TOURS are conducted by appointment only. Special tours can be arranged by calling (562) 916-8530. PARKING is always free in the spacious lots adjacent to the Cerritos Center for the Performing Arts. FULL-SERVICE BARS are located in the Grand Lobby on the Orchestra level and at the Gold Circle level. Refreshments are not allowed in the Auditorium. SMOKING IS NOT PERMITTED in any City facility. EMERGENCY MEDICAL technicians are on duty at all performances. If you need first aid, contact an usher for assistance. RESTROOMS are located behind the Grand Staircase on the Orchestra level and at the Grand Staircase Landing on the Gold Circle level.

Out of courtesy to the performers and fellow patrons, CELLULAR PHONES, PAGERS, AND ALARM WATCHES should be disconnected before the start of the performance. DOCTORS AND PARENTS should leave their seating locations with exchanges or sitters and have them call (562) 916-8508 in case of an emergency. THE COAT ROOM is located behind the Grand Staircase. CAMERAS AND RECORDING EQUIPMENT ARE NOT PERMITTED in the Auditorium and must be checked at the Coat Room. LOST ARTICLES can be claimed by calling (562) 916-8510. ELEVATORS are located near the Grand Staircase and access each level of the Lobby. PAY PHONES are located on the Orchestra level behind the Grand Staircase and near the restrooms on the Gold Circle level. PHONIC EAR LIGHTWEIGHT WIRELESS HEADSETS for the hearing impaired are available in the Coat Room at no cost. To obtain a headset, a driver's license or major credit card is required and is returned upon receipt of the equipment at the close of the performance. WHEELCHAIR locations are available in various areas of the Auditorium. Please contact the Ticket Office at (800) 300-4345. LATECOMERS will be seated at the discretion of the house staff at an appropriate pause in the program. CLOSED-CIRCUIT TELEVISION VIEWING is available in the Lobby of each seating level and at the Lobby bar. THE CERRITOS CENTER FOR THE PERFORMING ARTS' Auditorium and Sierra Room are available for special events on a rental basis. For more information, please call Special Event Services at (562) 916-8510, ext. 2827.

LEARN about upcoming events and other important information about the Cerritos Center for the Performing Arts (CCPA). Don't spend time looking for CCPA news; let it come right to you as it happens! To be in-the-know, just fill out this form and hand it to any of our ushers at intermission or following the performance.












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