(Photo credit: Daniel Welch)

The 2025 edition of the Festival International de Musique Saint-Georges will celebrate the 280th anniversary of the composer’s birth by presenting its first opera.

The concert version of Leoncavailo’s “Paglacci” stars tenor Limmie Pulliam as Canio, soprano Michelle Johnson as Nedda, along with tenor Leo Williams, and baritones Darnell Ishmel and Franco Pomponi. Alexis Rainbow directs the Festival Chorus. Marlon Daniel, the Festival’s Artistic and Musical Director, conducts the Basse-Terre Festival Orchestra on Nov. 19 at the L’artchipel in Guadeloupe.

Limmie Pulliam, who has performed with the Metropolitan Opera, Tulsa Opera, New Orleans Opera, Arizona Opera, Baltimore Symphony Orchestra, Minnesota Orchestra, and Orchestre Métropolitan, among others sat down with OperaWire to discuss his upcoming performance at the Festival.

OperaWire: What part of the Festival are you most looking forward to?

Limmie Pulliam: I’m really looking forward to visiting Guadeloupe. I’ve never been to the French Caribbean, and I’ve had a connection with the island since I was a teenager through a family friend and I’ve always wanted to visit since then. I’m glad the opportunity has finally risen for me to do that.

OW: How did you get involved with the Festival?

LP: Marlon and I actually worked together on a production of “Pagliacci” at Florida Grand Opera a couple of seasons ago. He mentioned to me during rehearsals that he was interested in introducing a new element to the Festival by presenting an opera. As we went through the process, he thought “Pagliacci” would be best due to its length, cast size, and ability to include a chorus. He asked me to serve as an artist-in-residence for the festival, which has been great. I’ve had some input in putting the production together, and I’m really looking forward to meeting my colleagues and performing.

OW: You’ve done “Pagliacci” many times, what do you like about it?

LP: I love the drama. The role of Canio can be quite intense, and I like the challenge, it’s like a high-wire act. It would be easy to let the drama rob you of your voice, so it’s about balancing and riding the edge. It’s a matter of working through rehearsals and harnessing your emotion. The piece deals with sensitive topics so it can be emotionally draining. My concern is always for my colleagues – to make sure everyone feels comfortable and safe when the drama intensifies.

OW: Have you done a concert version of “Pagliacci” before?

LP: I don’t think I have, so this will be the first!

OW: What are your feelings on concert versions?

LP: I think concert versions are great. They make opera more accessible because they allow smaller companies with limited budgets to stage productions they couldn’t otherwise afford. I’ve done several operas in concert that were extremely successful and attracted new audiences. Some first-time attendees said they appreciated not being overwhelmed by sets, costumes, or stage action. Its just more accessible for both audiences and companies, which I really like.

OW: What do you think the reception will be like as this is the first opera at the Festival?

LP: I think it will be powerful. Even in a concert version, you can feel that overwhelming sense of energy because it’s all produced by the vocalism. If the right voices are in place, the drama and energy will still be there, even without costumes or lighting.

OW: Have you performed any of the composer’s works?

LP: No, I haven’t had the opportunity to perform any of Bologne’s music. Like most people, I was recently introduced to him through the movie and through the work that came about from it, as well as through Marlon while planning for the festival. I also learned that he was in line to be music director of the Paris Opera but was shut out because of his race. You can only wonder how his operas and compositions might be performed today if he’d been given that role. I’m just excited to play a small part in honoring him and hope to return for future festivals.

OW: Do you have any plans outside of the festival to explore?

LP: I’m assuming it’ll be quite busy since I’m just there for a few days, but I’m hoping to get a chance to explore the island a little and get out of the touristy areas to experience the real Guadeloupe. I’m just excited to experience the culture and people, to share this great music with Guadeloupe, and I’m grateful to Marlon and everyone working to put this festival on. I’m grateful to be part of it.

Read Related Stories

• Axelle Saint-Cirel & Limmie Pulliam Headline Festival International de Musique Saint-Georges 2025

• Composer Profile: Joseph Bologne, Chevalier de Saint-Georges, Composer of Six Operas

• Q & A: Marlon Daniel on the Chevalier de Saint-Georges & Systematic Racism in Classical Music