I am having the best summer. The weather is perfect, I’m teaching at home, I closed a show in May (Little Women
, as both Marmee and director, debut for both), wrote and put on a cabaret show in less than 4 weeks after that, and am getting into the best physical shape I’ve been in since I moved out here in 2013. I’m picking up church gigs and so far haven’t had to tap into my summer fund, which is usually how I live through the summer.
And last year I had a good summer, as well, but I didn’t write anything about it. I tweeted things that caught my fancy, particularly at the NATS2016 conference in Chicago, but I didn’t really say anything about how this affected me.
So, from last year’s FB posts/tweets, showing up in my On This Day on Facebook:
- “Share who you are. It’s not enough to just stand and sing well.” -Renée Fleming #NATSinChicago.
This is all about vulnerability. It is not enough to sing pretty. Lots of people sing pretty. It’s about being brave enough to share yourself with people, people who might not like you or what you have to say. The singer who goes to the next level is vulnerable. And vulnerability is not weakness (there’s a previous entry on this).
- “We don’t have an art form if we don’t have new works. We don’t have a relevant art form. We have a historical art form” @reneesmusings #NATSinChicago
Opera – or ballet, or theater – is not stagnant. It is not enough to perform the same piece over and over as a museum piece. It must evolve. There must be new works. And when there are old works, they must be looked at with new eyes. That doesn’t necessarily mean they should be updated or turned on their heads. I saw Midsummer Night’s Dream last night at Baltimore Shakespeare Factory. Excellent production, relatively traditional – but it was done with such a fresh spin that I got things out of it that I haven’t gotten before. Lines that I’d not noticed before were especially funny or touching.
- W. Stephen Smith on the importance of double consonants in Italian: “if you say ‘quindici anni,’ you’re saying 15 years. If you say ‘quindici ani,’ you’re saying 15 assholes.” #VeryDifferent #NATSinChicago
Pay attention!! Details matter!! (And I think we’ve all met at least quindici ani in our lives by this point, haven’t we?)
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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