NATS 56 – Virtually Fantastic!

Right now, I am the student learning on Zoom, instead of the teacher. I’ve been consumed with the National Association of Teachers of Singing (NATS) 56th National Conference since Thursday. The conference was supposed to be in Knoxville, TN, but Corona….

The conferences are always things I look forward to – I’ve only missed 2 since I started going in 2002. One in 2004 (New Orleans – I didn’t want to go there in July – my mistake) and one in 2014 (Boston – I should’ve gone but I was told that I couldn’t because of a summer program I was teaching, but I could have). Not only do I learn new things, but I get to see old friends and make new ones, and we nerd out together on all the things we’re learning, all the things we’ve done since we saw each other last, inspire each other to do new things (possibly together!), socialize, go to performances, and … did I mention socialize?

This is a little different. I don’t like it. But it is what it is and I’m making the most of it.

So far I have been in classes on:

  • Voice and hearing health
  • Pedagogy and profession
  • Wine with Dr. Wendy (a panel discussion about contemporary musical theater’s demands with Wendy LeBorgne, the co-author of The Vocal Athlete, along with singers/teachers Mary Saunders Barton and Noah J. Ricketts)
  • Country singing (!)
  • Voice masculinization and feminization for transgender singers
  • Children will listen (working with pre-pubescent voices)
  • Teaching contemporary musical theater
  • Eat, sing and be merry
  • Singing for better lung health
  • The opening session, at which the American Spiritual Ensemble (in which I have a couple of friends) gave an amazing performance
  • An amazing cabaret show with David Sabella (who is a friend of mine), who just wrote a new book called So You Want to Sing Cabaret (which I’ve just added to my reading list)

I started in on a session on subharmonics, but I just couldn’t. Acoustic sessions always make my eyes cross, I have to admit it. If I’m going to do voice science, I prefer watching vocal folds vibrate and other nerdy anatomical stuff (the infant vocal tract is fascinating!). And I like very pragmatic solutions to things. Give me some ideas – inspire me!

Speaking of ideas and inspiration, I have finalized arrangements with Lissa deGuzman to do the studio’s first online master class. More info about this will be available tomorrow – but if you can’t wait, check out the information here.

And now I’m off to Training music majors for a 21st Century “Mosaic Career,” which seems to be geared more toward academia, but as a private teacher with budding music students, I think it might be good. After that, I’m off to a session on teacher collaboration called “With a little help from my friends” which is being presented by two of my favorite people.

Then I get to go and sing in church for the first time since March, and then come home and watch a panel discussion called The Ethics of a Profession: Creating Workplace Safety, which will involve a group of teachers, singers, music critics, and conductors.

These are not like medical conferences, where everyone’s done by 2pm. Even in person, NATS conferences are all day and well into the evening.

I LOVE IT!

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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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