Why I NATS

I have written about why I sing (the title of this blog), why I teach, and now I’d like to tell you –

Why I NATS

NATS (the National Association of Teachers of Singing) has been the most significant thing I have done for myself as a professional voice teacher.

I never was a student of a NATS teacher; I knew nothing about NATS. But back when I opened my studio in 1998, I knew from the people I had met on the old Vocalist listserv that NATS was going to be an important place for me.

Going to a summer NATS workshop on working with beginning students in 1997 in Minneapolis was the clincher – I gained so much insight into technique, repertoire, and just all the possibilities that were available to me. And the people I met were … my tribe (I already knew a few of them from Vocalist).

What I’ve gotten from NATS so far (and I’m not done yet):

  • Winter workshops and national conferences in Miami, San Diego, Los Angeles, Minneapolis, Nashville, West Palm Beach, Salt Lake City, Chicago, and Knoxville
  • COVID (Chicago 2022) 👿
  • Singing in masterclasses for a variety of pedagogues such as Mary Saunders and Neil Semers, as well as observing master clinicians Kelli O’Hara, John Holiday, Richard Miller, Lawrence Brownlee, etc.
  • Going to concerts and musicals featuring Kelli O’Hara, John Holiday, Lawrence Brownlee, Audra McDonald and others
  • Participating in the 2000 NATS Intern Program, which was the most most important thing I’ve done because it made me realize that I did, in fact, know what I was talking about
  • Having my students participate (and do very well in) the Wisconsin and MDDC NATS auditions
  • Finding a community and lifelong friends among my fellow members, who have made me feel respected and validated (do you get the feeling that validation is really important to me?)
  • Joining the board of the MDDC Chapter, first as secretary and then… and I don’t know how this happened … as president!

Here’s a little overview (there’s no music – that’s for the social media posts)

We are having a membership drive through the end of September; join before September 30 and get the rest of the year and 2025 for $199. You can also join your local chapter for free for the remainder of the year.

Check it out at https://www.mddcnats.org/post/new-member-special.

And that’s why I NATS!

If you have any questions whether about joining NATS OR becoming a student of Mezzoid Voice Studio, please don’t hesitate to contact me at christine@mezzoidvoicestudio.com!

 

Published by Mezzoid Voice Studio

Christine 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. 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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