It’s time for me to face the Fach….

The day before the oh-so-successful MacDowell Club performance, which clinched my knowledge that, yes, I am a classical singer and a good one at that, I auditioned for Sunset Playhouse’s Musical Mainstage Series. I sang Cole Porter’s “Give him the oo-la-la.” It went okay. But when I came home from Baltimore, I found a rejection letter from them.

I wasn’t even going to audition. I’d made up my mind that I am a classical/opera singer and that I wasn’t going to pursue any musical theater kind of stuff. But then I thought, “What the heck.” I shouldn’t have. The best thing I got out of it was that the dress I chose to wear looked really great on me (I’d forgotten I had it!) and I’m going to take it with me to Orlando.

I know that I shouldn’t be upset about not getting cast. Or bitter. It’s what I tell all my students. And it’s not that I haven’t had a lot of rejection over the last 8 years – which coincides with how long it’s been since I lost my focus (i.e., Cudahy Carolers Christmas – my biggest career misstep). But I set myself up for this one by not facing that my Fach is that of classical mezzo-soprano.

And what really bothers me about MT auditions is that you can’t present a whole song. This audition allowed me to do 32 measures. Most do 16. And not from the show. What the hell is that? In opera, you come in with at least one aria from the show you’re auditioning for, plus a few others as well. You pick one, they pick one. You get to display a whole range of emotions. You have to demonstrate that you can sing that role, not just that you can sing.

I won’t be auditioning for any more musical theater roles, unless it’s something SO legit that I can justify it.  And as far as auditions go, most everyone in town has already heard me. They know what I have to offer and if they want to get in touch with me, they can call me.

So right now my focus is on my upcoming performance with Beverly Thiele (“Mother Comfort”) and Steven Stoler (“Abraham and Isaac”) in the Hal Leonard Showcase at NATS in Orlando (July 1, 1pm!). And then on my November 18 recital at Cardinal Stritch University with soprano Amelia Spierer and mezzo Kay Belich (my partners in crime), accompanied by Dr. James Norden.

I will be indulging my creative side in a couple of song parodies to be performed…. not giving anything away just yet!

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.

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