Curating and Cultivating Community

And curiosity.

And creativity.

And cleverness.

I really like words that begin with the /k/ sound (I figured that sounds better than saying “I like C words, ” which was what I started to type and then said, “Oh wait…”)

That’s what World Voice Weekend is about. I strive to have my studio be about community. I’ve talked about this before, recently in a blogpost called “Learning is something we get to do.” Specifically, I said:

Creating community is one of the most important parts of having a studio. Supporting each other, working together, and being part of something – it should be an immersive experience, not a passive one. This is my goal as a teacher – as I once wrote, “I am here to inspire and facilitate.” And turn on some lights for you.

That is the goal behind World Voice Weekend. To make it an immersive experience, an organic experience, one that we all share. People who attend it may choose to participate in the mind/body, acting, and vocalise classes. They may choose to just watch and take notes. People may choose to perform for the master clinicians. Or they may audit the class instead. Either is fine.

Someone asked me if they could just sign up for the masterclasses and nothing else. I said no. That’s not what my vision is for this. My vision is that we are one world, many voices (which is the World Voice Day theme for the year) and that we need to come together and take this journey together. If you have to step out during a session, that’s fine. Just turn off your camera and we’ll see you when you come back.

I have been fortunate enough to have worked with many fine colleagues, both as teachers and as performers. This weekend is meant to showcase their talents in order to serve you as voice users in a variety of ways, to celebrate the voice in a variety of modalities and to explore its function with mind/body, vocal health & movement workshops (if that sounds familiar, it’s on the website). I have curated these sessions, I have cultivated these relationships, and now it’s time for us to come together as a community.

There are tons of stand-alone masterclasses, and I’m sure I’ll host them again. But not this time. And if that’s what you’re looking for, we’ll see you when that kind of program comes up.

There is a limit of 50 people for this event. Are you going to be one of them?


To register for World Voice Weekend, please click HERE. If you’re curious (creative or clever works too)
about becoming part of Mezzoid Voice Studio, contact MVS for more information.

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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