Chrissie has left the building….

After 15 years, last week I closed the Milwaukee version of my private studio, packed everything up and loaded an incredibly long moving van full of my stuff (as well as one very full Subaru wagon) and moved to Baltimore. That’s where I’m sitting right now, in my Baltimore living room writing this while my husband plays Supertramp on his brand new upright.  My furniture isn’t here yet – the movers won’t arrive till next Tuesday or Wednesday, so I’m kind of in limbo.

My new in-house studio space is also empty – not only of furniture, but of students as well. I will need to start marketing myself sometime this summer. I’ve joined Maryland NATS, I might have a job lined up at a local community college, and I’ll be putting out the word at my alma mater, Peabody, that I’ll be ready to go after Labor Day. My summer project will be writing an article about the process of uprooting a successful studio and starting all over for the Journal of Singing (my due date is 10/2013, so keep me honest – ask me how it’s going!).
At this time last year, there was nothing more I wanted than to return to the east coast, to a place where I was appreciated as a performer. I didn’t start teaching until I’d been back in Milwaukee for about a year. Teaching voice was just supposed to be something I did so I didn’t have to work in an office between gigs. I didn’t know I’d be good at it. I didn’t know I would be passionate about it. I didn’t know that I would actually pass up gigs because I’d rather teach. (Not good gigs, mind you – but there was a time when I’d take any gig just to have a gig.)
Now I want to have it all. I want to perform, and I want to teach. This is a good move for me, I know that. But at the same time, I look at the picture of this empty room where so many people made beautiful music – and the room is not all that’s empty. I may fill the empty place in my heart with new students, but the ones I leave behind are the ones who made my heart sing. Not only aloud, but inside. 
Thank you all. 

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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