Rising tenor Limmie Pulliam thrills audiences with his captivating stage presence and his “stentorian, yet beautiful,” sound. Pulliam was praised by the San Francisco Chronicle for his “full-throated vocal power, and intimate lyricism” in his debut at Livermore Valley Opera in Verdi’s Otello.
On December 17, 2022, Pulliam made his Metropolitan Opera debut as Radamès in Verdi’s Aida, which also served as his role debut. He recently reprised the role of Radamès with Tulsa Opera for their 75th anniversary gala concert. Elsewhere during the season, he returns to The Cleveland Orchestra for his first performances as Dick Johnson in Puccini’s La Fanciulla del West, conducted by Franz Welser-Möst. In concert, he debuts with the San Diego Symphony singing Verdi’s Requiem and makes his Carnegie Hall debut performing The Ordering of Moses in collaboration with his alma mater, The Oberlin Conservatory. He also joins pianist Mark Markham for a series of recitals entitled “Make Them Hear You: A Spiritual Journey” and will also be featured on “operatic greatest hits” concerts with the Lincoln Symphony Orchestra and Delta Symphony.
The 2021–22 season was highlighted by his highly anticipated Los Angeles Opera debut as Manrico in Verdi’s Il Trovatore, where he was lauded by the Los Angeles Times for his “healthy, focused, ringing tenor.” He followed that with a successful role debut as Turiddu in Mascagni’s Cavalleria Rusticana with Vashon Opera. Upcoming performances include his company debut with Livermore Valley Opera in the title role of Verdi’s Otello, his company debut in Fort Worth Opera’s A Night of Black Excellence concert, and his rescheduled appearance with the Memphis Symphony Orchestra as the tenor soloist in Beethoven’s Ninth Symphony. He is set to take the stage again as Verdi’s Otello in his highly anticipated debut with The Cleveland Orchestra.
Future engagements include a mainstage debut as Cavaradossi in Puccini’s Tosca with Madison Opera, and international debuts with the Gewandhausorchester in Leipzig, Germany, in Verdi’s Requiem, and The Vienna Volksopera in Vienna, Austria, in John Adams’ The Gospel According to the Other Mary.