ANDREW POTTER
BASS
BIOGRAPHY
Bass Andrew Potter has garnered increasing demand across the country for his larger-than-life stage presence with a voice to match. Last season established Potter as one of the premier basses in the opera world today, with major house débuts at Dallas Opera as Angelotti in Tosca, The Atlanta Opera as Quince in A Midsummer Night’s Dream, Detroit Opera as Harašta in The Cunning Little Vixen, and Santa Fe Opera for both Der Rosenkavalier and the world premiere of The Righteous, in which he covers Greer Grimsley’s lead role of Paul. Additionally, Potter returned to Opera Santa Barbara as Ferrando in Il trovatore, and he joined the Fort Worth Symphony to cover Hunding in Act I of Die Walküre, Pacific Symphony as Colline in La bohème, I Filarmonici Columbus as Méphistophélès in scenes from Faust, and Houston Symphony as Second Soldier in Salome. This season, Mr. Potter makes his Florida Grand Opera début as Sarastro in Die Zauberflöte, returns to Seattle Opera to sing Panthée in Les Troyens, takes his Angelotti in Tosca to Richmond Symphony, and joins the roster of The Metropolitan Opera to cover Sarastro in Die Zauberflöte. He also joins Opera Omaha to sing the Commendatore in Don Giovanni and Wichita Grand Opera for Vodnik in Rusalka.
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CRITICAL ACCLAIM
“...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.”
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“...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.”
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"....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.”
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"...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!”
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"...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”
REPRESENTATIVES
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Vice President | Classical & Creatives
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