New Year, New Plans

I keep saying I’m not making any resolutions this year, that I’m going to have a central theme of organization that will govern the year (with a secondary theme of marketing myself as a singer and a teacher), but there are a few things that I’d like to do this year.

First of all, I have created reminders on the first and fifteenth of each month to write a blog entry. I think that my probably-excessive presence on social media has sapped me of finding things to write about, both in my own personal journal and here. So hopefully, these automatic reminders will get me back to doing what I intended to do, and writing about singing.

I realized that I didn’t write about the most important thing I did this year, which was make my NYC debut in October. I was fortunate enough to be asked (through social media – which is one of the reasons I stay on it) to be on a tribute concert on the 25th anniversary of Leonard Bernstein’s death. I was the only non-NYC person performing, and initially, I was only going to sing Madame Dilly’s Carnegie Hall Pavane from On The Town, which really isn’t much. But in the weeks leading up to it, my friend Lloyd Arriola put out the word that a couple of his mezzos bailed and did anyone want to pick up “Ohio,” “We are Women” and “Some Other Time.” I said, “Sure, I’ll take the latter two!” and then found out 2 weeks before that Lloyd misunderstood and thought I was doing all 3. Fortunately, I’ve staged “Ohio” before for my studio recital, so I knew it pretty well.

It was a very successful performance – everyone was very good, and I made some new connections. But I did drop the ball on a couple of things afterwards.

A friend told me she’d talk to her agent about me. I haven’t asked her about that. I need to.
There was an agent I was going to audition for in NYC in December. I didn’t do that either. I felt overscheduled and just didn’t get to it. Probably because I didn’t have my materials organized.

So there’s the organization thing again. If I had my materials ready to go – an up to date recording of myself, primarily – this would be a no-brainer. 

I also am not entirely pleased with my physical presence right now and want to get back to where I was in June 2013, when I was in really good shape. But I can’t let that keep me from going forward.

A friend of mine told me she couldn’t take voice lessons until she got her voice back in shape because she was too embarrassed to let a teacher hear her. I thought that was ridiculous until I realized I was doing the same thing in auditions and going to work out. I need to accept where I am right now and do what I can, when I can. Because time goes by so quickly and I can’t waste any more of it.

I’ll be back on the 15th with something coherent to say, I hope.

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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