Acclaimed soprano Emily Pulley’s radiant voice and electrifying acting have won her both national and international acclaim on the operatic stages. Recent performances include the Beggar Woman in Sweeney Todd with Mill City Opera, Giorgetta in Il tabarro with Opera Theatre of Saint Louis, and the Governess in The Turn of the Screw with Boston Lyric Opera, and her début in the title role of Bizet’s Carmen with Central City Opera. Other performances in recent seasons include Mrs. de Rocher in Minnesota Opera’s production of Dead Man Walking, Becky in Morning Starwith On Site Opera, Madeline in Three Decembers, Desiree in A Little Night Music, Martha in Faust, Mrs. P in The Man Who Mistook His Wife for a Hatwith UrbanArias, and Amneris in Aïda and Mere Marie in Dialogues des Carmélites as a part of Eugene Opera’s New Year’s Eve Opera Trio concert.
Additional highlights include the role of Peregrina in the world-première of Vià Làctea with OperaBend; a return to Central City Opera as Julie in Showboat, the title roles in Nora, In the Great Outdoors and Alice in the Time of Jabberwock in a double-bill with UrbanArias in Virginia; a double-bill of Amahl and the Night Visitors and The Christmas Rose with Musica Sacra Atlanta; Bea in Jake Heggie’s Three Decembers for Urban Arias in Virginia, Des Moines Metro Opera, Central City Opera, and Fort Worth Opera; Despina in Così fan tutte at the Nashville Opera; role débuts as Giorgetta in Il tabarro with Opera Theatre of Saint Louis, Leonora in Fidelio with Dayton Opera, and Desdemona in Otello with Arizona Opera; Marguerite in Faust with Arizona Opera and New Orleans Opera; the title role of Susannah with Central City Opera and The Wexford Festival in Ireland; a John Cage anniversary event with the Center for Contemporary Opera in New York; and a return to the Metropolitan Opera for their production of Shostakovich’s The Nose.
A frequent presence at the Metropolitan Opera, Ms. Pulley’s roles in the legendary house included Marguerite in Faust, Nedda in Pagliacci, Blanche in Dialogues des Carmélites, Gretel in Hänsel und Gretel, Anne Trulove in The Rake’s Progress, Musetta in La bohème, Valencienne in The Merry Widow, Thérèse in Les mamelles de Tirésias, and Erste Dame in a new production of Die Zauberflöte directed by Julie Taymor.
A champion of contemporary repertoire, she created the role of Lysia in the world première of Mark Adamo’s new opera, Lysistrata, in her Houston Grand Opera début, which she then reprised for New York City Opera. She made her New York City Opera début as Lavinia Mannon in Mourning Becomes Electra for which she won the New York City Opera Richard F. Gold Début Artist Award.
A native of Texas, Ms. Pulley received the Richard F. Gold Career Grant from Central City Opera and the Jacobson Study Grant from the Richard Tucker Foundation. She is the 2006 recipient of New York City Opera’s Christopher Keene Award, recognizing an artist’s performance in new or unusual repertoire.