LIMMIE PULLIAM PERSPECTIVES

Reflections on Early Career and the Future of Opera

By Dasia Hood

Since childhood, Limmie Pulliam has had a beautiful voice that took him on a path of self-discovery. As the son of a pastor, Pulliam’s singing experience began with the church choir. He later joined his middle school choir and stuck with it in high school. “In high school, my choir director introduced me to opera. She heard something in my voice that made her think I could sing opera, a nd she was correct.”

He began working and learning opera, going on to study at the Oberlin Conservatory of Music with Richard Miller. In college, Pulliam was introduced to a summer program in Italy by the program director, Luisa Panou, who he kept in touch with after she heard him sing in high school. Thanks to a scholarship and some fundraising, Pulliam attended New Operafestival di Roma in 1996, directed by Stefano Vignati, who transformed the program into the International Lyric Academy the year after. “I learned some much from M° Vignati while I was there,” Pulliam reflects, “I was just a young singer - I think I was 19 or 20 at the time.”

The value of early language and career training

That experience was such a vital part of my early training,” Pulliam explains, “because it helped reinforce some things I was learning at the conservatory. As a student, it started to instill the importance of being a professional and how to be a professional colleague because they treated us as professionals and not as students while we were there.” Having accessibility to professional language and career training early on makes a difference in the starting paths of young opera singers. It gives them foresight into what it would take to pursue a career in classical music.

Walking your path

After his training experience, Pulliam returned to college and sang briefly after graduating from Oberlin; however, he decided to take a break from opera to pursue other interests, live life, and do some soul-searching. Looking back, Pulliam believes taking time away was a blessing, as he gained more life experience to return to his art. “Every artist’s path is different. My path took me away from my career for some years, but the road returned to where I was meant to be.”

Pulliam advises young artists to take chances, be vulnerable, have persistence, and be consistent as they make their way. Put in the work and surround yourself with good mentors to support you.

“I’ve been fortunate to have some senior members of the classical community whose footprints and on whose shoulders we stand, especially for me as a Black artist,” states Pulliam, “People like George Shirley, the first African-American male tenor to sing a leading role at the Metropolitan Opera. To have access to those individuals, other colleagues, and artists who encouraged me when I r eturned to the field.”

Looking forward

Pulliam envisions himself as a mentor for the next generation. He wants students to know that representation matters. People want to see people like them on the stage. Thriving opera companies will reach out to a diverse audience to make people feel welcome to the art of opera.

“It’s only right that I be willing to reach back and share those experiences with others. Whether an artist or color or an artist of size.”