Welcome to the Bluebeard's Castle Concert Series.

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Andrew W. Potter, Bass

Mr. Potter 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 summer, Potter
performed the role of The Bonze in Madama Butterfly
with St. Petersburg Opera, reprised the role of Hunding in
Die Walküre with Pittsburgh Festival Opera, sang Vodnik in
Rusalka with Steamboat Opera, and performed Escamillo
in Carmen with Mid-Ohio Opera. Upcoming engagements
include Prince Gremen in Eugene Onegin with Livermore
Valley Opera, Poo-Bah in The Mikado with Opera Grand
Rapids, Sulpice in Daughter of the Regiment with Winter
Opera St. Louis, Il Commendatore in Don Giovanni with
Indianapolis Opera and Pastor Avery in Tobias Picker’s
Emmeline with Tulsa Opera.
Recent engagements have included 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, Dr. Dulcamara in L’elisir d’amore
with Winter Opera St. Louis, Fafner in Das Rheingold and
Colline in La bohème with Pittsburgh Festival Opera, the
role of Death in the world premiére of Rick Sowash’s
Death and the Everyman and Don Alfonso in Così fan tutte
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.

Renée Rapier, Mezzo

American Mezzo-Soprano Renée Rapier with her “dark, velvety
mezzo, smoothly controlled, unfailingly eloquent phrasing” (Opera
News) and “razor-sharp focus” (Bay Area Reporter) is taking the
operatic stage by storm. Renée recently made a series of débuts
including her Wagnerian début as Grimgerde in San Francisco
Opera’s visionary Ring Cycle, her role début as Donna Elvira in Don
Giovanni with Opera Steamboat, and her Mahler début performing

Rückert-Lieder with the Peninsula Symphony.
This season, Renée makes her Calgary Opera début as Komponist in Ariadne auf Naxos, performs the role of Jezibaba in Rusalka with Steamboat Opera, Suzuki in Madama Butterfly with Tulsa Opera, makes her role debut as Carmen with Festival Opera, and performs the mezzo-soprano solo in Beethoven’s Symphony No. 9 with The Jackson Symphony. Renée was featured in a number of recitals and concerts at the Newport Music Festival including a performance with renowned Mezzo-Soprano Federica won Stade and composer Jake Heggie. She also recently returned to the LA Philharmonic in collaboration with The Industry and MacArthur ‘Genius’ Grant winner Yuval Sharon for a new production of John Cage’s Europeras 1&2; made an appearance with Mise-en-scene Studios; performed as a soloist in Beethoven’s Symphony No. 9 with the San Francisco Symphony, Suzuki in Madama Butterfly with Opera Theatre of St. Louis, Opera San Jose and Seattle Opera, Mercédès in Calixto Bieito’s provocative production of Carmen with San Francisco Opera, and a critically-acclaimed début as Rosina in Il barbiere di Siviglia with Opera San Jose.

Other notable engagements include a return to LA Opera singing Cherubino in both Le nozze di Figaro and John Corigliano’s The Ghosts of Versailles, a début at Chicago’s Ravinia Festival as
both the Page in Salome and Cherubino in Le nozze di Figaro, an international début as Olga in Eugene Onegin with the Seoul Philharmonic, Cornelia in Giulio Cesare with Wolf Trap Opera, and a début with Opera San Antonio as Mrs. Fox in Tobias Picker’s Fantastic Mr. Fox. After receiving degrees in both voice and viola from the University of Northern Iowa, Renée participated in several prominent training programs including Chautauqua Opera and the Merola Opera Program. In 2011, she was chosen to join LA Opera’s Domingo-Thornton Young Artist Program where she made her professional début as Stephano in Roméo et Juliette under the baton of Plácido Domingo. Soon after, she joined the prestigious Adler Fellowship at the San
Francisco Opera where she covered and sang a number of roles including Giovanna in Rigoletto and Meg Page in Falstaff.

Can’t make a performance, and/or want to help us bring Bartók’s masterpiece to audiences here in the US? Visit our GoFundMe below, and see how you can help.