Andrew Potter

Andrew Potter

Andrew Potter, bass has garnered increasing demand across the country for his larger than life stage presence and voice to match. Of his recent performance in L’elisir d’amore, Opera Today hailed, “With his huge, all‐encompassing bass voice and precise comic timing he nearly stole the show.”

This past season, Andrew has been one of the lucky ones to be able to continue to perform, in addition to a series of virtual concerts, he joined Opera Santa Barbara as the title role in Don Pasquale, Pacific Opera Project as Sam in Trouble in Tahiti, and Southern Illinois Festival for Covid fan Tutte.  Next, he will perform Simone in Gianni Schicchi as well as Pastor Avery in Tobias Picker’s Emmeline with Tulsa Opera, Il Commendatore in Don Giovanni with Indianapolis Opera, René, King of Provence in Iolanta with Pacific Opera Project, and Sparafucile in Rigoletto with Orlando Opera.

Calendar

Event Date
Feb 25
to
Feb 27
Emmeline
Pastor Avery
Tulsa Opera
Tulsa, Oklahoma
Event Date
Mar 20
to
Mar 27
Iolanta
René, King of Provence
Pacific Opera Project
Los Angeles, California
Event Date
Apr 22
to
Apr 24
Rigoletto
Sparafucile
Opera Orlando
Orlando, Florida

Artist Bio

Andrew Potter, bass has garnered increasing demand across the country for his larger than life stage presence and voice to match. Of his recent performance in L’elisir d’amore, Opera Today hailed, “With his huge, all‐encompassing bass voice and precise comic timing he nearly stole the show.”

This past season, Andrew has been one of the lucky ones to be able to continue to perform, in addition to a series of virtual concerts, he joined Opera Santa Barbara as the title role in Don Pasquale, Pacific Opera Project as Sam in Trouble in Tahiti, and Southern Illinois Festival for Covid fan Tutte.  Next, he will perform Simone in Gianni Schicchi as well as Pastor Avery in Tobias Picker’s Emmeline with Tulsa Opera, Il Commendatore in Don Giovanni with Indianapolis Opera, René, King of Provence in Iolanta with Pacific Opera Project, and Sparafucile in Rigoletto with Orlando Opera.

Previous engagements have included Prince Gremin in Eugene Onegin with Livermore Valley Opera, Poo-Bah in Mikado with Opera Grand Rapids, Sulpice in Daughter of the Regiment and Dr. Dulcamara in L’elisir d’amore with Winter Opera St. Louis, Sherlock Holmes and the Case of the Fallen Giant with American Lyric Opera, The Bonze in Madama Butterfly with St. Petersburg Opera, Hunding in Die Walküre, Fafner in Das Rheingold and Colline in La bohème with Pittsburgh Festival Opera, Vodnik in Rusalka with Steamboat Opera, Osmin in Die Entführung with Opera Orlando, Colline in La bohème with Anchorage Opera and Indianapolis Opera, his Tulsa Opera début as The King in The Little Prince, Sarastro in The Magic Flute and Il Commendatore in Don Giovanni with Pacific Opera Project, the role of Death in the world premiére of Rick Sowash’s Death and the Everyman, Don Alfonso in Così fan tutte, and Escamillo in Carmen with Mid-Ohio Opera, and Simone in Gianni Schicchi, Sarastro in Die Zauberflöte and Ferrando in Il trovatore with Southern Illinois Music Festival.

Additionally, Andrew has performed across the country proficiently demonstrating the vocal power and sonority to sing such roles as Mephistopheles in Gounod’s Faust and Sarastro in Die Zauberflöte, the range and physicality to perform buffo roles like Don Bartolo in Il barbiere di Siviglia, Don Alfonso in Così fan tutte, Don Magnifico in Cenerentola; and the flexibility and agility to sing challenging Handelian roles including Zoroastro in Orlando, Ariodate in Serse, and Argante in Rinaldo.

With years of studying under renowned teachers such as Rick Christman, Braeden Harris, and Kenneth Shaw; Andrew became a standout in mainstage roles at several of the nation’s most prestigious Young Artist programs such as Des Moines Metro Opera, St. Petersburg Emerging Artist Program, and the Tyler Young Artist Program.

Updated September 1, 2021.

Video

“O, wie will ich triumphieren” from Mozart’s Die Entführung aus dem Serail

“Vecchia zimarra senti” from La bohème

“I’m a lonely man, Susannah” from Carlise Floyd’s Susannah

“Gremin’s Aria” from Tchaikovsky’s Eugene Onegin

“Come dal ciel precipita” from Verdi’s Macbeth

“Wie schön ist doch die Musik” from R. Strauss’ Die schweigsame Frau

“In diesen heil’gen Hallen” from Mozart’s Die Zauberflöte

Press

“...Andrew Potter’s Sarastro was everything one could wish..." – Opera Today

The Magic Flute – “Andrew Potter’s Sarastro was everything one could wish, his darkly sonorous, rolling bass the exact fit for his imposing music.”

“...here is a suggestion for every Don Giovanni production in the world: fly in Andrew Potter to play the Commendatore..." – Schmopera

Don Giovanni – “Here is a suggestion for every Don Giovanni production in the world: fly in Andrew Potter to play the Commendatore. It’s perfect casting, especially in the scene where he’s a statue that comes to life. His earthshaking basso is as big as his 6’10” frame. And when he enters in a smoke-filled, backlit haze you can understand why Giovanni, Leporello, and everyone in the audience, would be scared to death.”

"....a powerful bottomless bass voice..." – Broadway World

L’elisir d’amore – “Andrew Potter, as Dr. Dulcamara, is tall, tall, towering dramatically over the rest of the cast. He has a powerful bottomless bass voice. (One almost needs a bathysphere to follow him as he plunges that word “eccelente” down to the depths.) He also has wonderful comic gifts.”

"...his huge, oily, black, genuine bass shook the rafters..." – Town Times

Faust – “Like any good Liu in “Turandot” or Azucena in “Trovatore”, a great Mephistopheles will usually steal the show in any “Faust”. Towering at 6’10” and not the least bit creepy looking, Andrew Potter’s tour de force performance would stand tall on any of the biggest and best operatic stages in the world today. His huge, oily, black, genuine bass shook the rafters, and his sinister murder of Marguerite’s illegitimate baby (nice touch!) sent shivers down one’s spine. Any celebrity bass from this role’s glorious history would be so proud of him and his continuing in the grand manner they established!”

"...nearly stole the show...” – Opera Today

L’elisir d’amore – “Andrew Potter was the conceited army recruiter, Belcore, who thought he was God’s gift to women. With his huge, all‐encompassing bass voice and precise comic timing he nearly stole the show”