Trampoline

I’ve been using the analogy of the trampoline lately in approaching high notes. If someone is on a trampoline and wants to go high into the air, do you stand in the middle of the trampoline and jump up? No, you jump into the trampoline and let the momentum “ka-boing” you into the air. If you just jump up, you won’t go very high and you’ll probably fall down and hurt something. Point being – ground yourself, support the lower note and the high note will be there for you (assuming your articulators are all free and nothing else is in your way).

Of course, I’ve never actually been on a trampoline, so that analogy is strictly from observation. I’m afraid of heights, so going up into the air is a frightening prospect, albeit less frightening than it used to be. I was afraid of high notes for the longest time, but they’re less frightening than they used to be also.

So now that I’ve had this big realization that opera and classical singing really need to be a part of my life, where do I take this?  I’ve decided that it is time to plan my recital for next fall. I’ve hired David Sytkowski to be my accompanist, I have a tentative date (September 23) in mind and will be finalizing with Dr. Harper at Carroll University in January, and I have a program in mind:

Rossini – the two pieces I sang this past Sunday and another
Marx and/or Zemlinsky
Kilpinen
Either the Judith Weir pieces for the Classical Celtic program in March OR
Libby Larson’s “Love after 1950”
Two musical theater pieces:
   “Here alone” from Little Women
and
   “Fable” from Light in the Piazza
“Dodecaphonia” by John Corigliano (the only place you can do that piece is in academia)

So that’s the plan. I’ve taken a few practice bounces, and I have a couple more in mind. Now it’s time to go for the big jump.

Leap and the net will appear.

Ka-BOING!

Published by Mezzoid Voice Studio

Christine Thomas-O'Meally, a mezzo soprano and voice teacher currently based in the Baltimore-DC area, has performed everything from the motets of J.S. Bach to the melodies of Irving Berlin to the minimalism of Philip Glass. As an opera singer and actress, she has appeared with companies such as Charm City Players, Spotlighters Theatre, Chicago Opera Theater, Opera Theater of Northern Virginia, Opera North, the Washington Savoyards, In Tandem Theatre, Windfall Theater, The Young Victorian Theater of Baltimore, and Skylight Opera Theatre. She created the role of The Woman in Red in Dominick Argento’s Dream of Valentino in its world premiere with the Washington Opera and Mary Pickersgill in O'er the Ramparts at its world premiere during the Bicentennial of Battle of Baltimore at the Community College of Baltimore County. Other roles include Mrs. Paroo in Music Man, Mother Abbess in Sound of Music, Dorabella in Cosi Fan Tutte, Marcellina in Le Nozze di Figaro, both Hansel and the Witch in Hansel & Gretel, and many roles in Gilbert & Sullivan operettas. Her performance as the Housekeeper in Man of La Mancha was honored with a WATCH award nomination. Ms. Thomas-O'Meally received an M.M. in vocal performance from the Peabody Conservatory in Baltimore. She regularly attends master classes and workshops in both performance and vocal pedagogy, and is certified in all three Levels of Somatic Voicework™ The LoVetri Method. Her students have performed on national and international tours of Broadway productions, at prestigious conservatories, and in regional theater throughout the country.

What do you think?

%d bloggers like this: