Andrew W. 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.
Pacific Opera Project
Il Barbiere di Siviglia
October 13, 15, 18, & 21
Vero Beach Opera
Opera Santa Barbara
February 9 & 11
A Midsummer Night’s Dream
March 2, 5, 8, & 10
Fort Worth Symphony Orchestra
April 19, 20, & 21
The Cunning Little Vixen
May 11, 17, & 19
Baron Ochs (cover)
The Santa Fe Opera
July 13 – August 15
Here’s what’s in the press.
“...Andrew Potter’s Sarastro was everything one could wish..."
“Andrew Potter’s Sarastro was everything one could wish, his darkly sonorous, rolling bass the exact fit for his imposing music.”
– Opera Today
"...fly in Andrew Potter to play the Commendatore..."
“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 bottomless bass voice."
"The guy owns the stage..."
“As Faust’s antagonist Mephistopheles (read “devil”), bass Andrew Potter combines a virile yet spry stage presence with sturdy, responsive and infectious singing. The guy owns the stage, as any good Satan (pardon the oxymoron) must.”
– The Connecticut Day
"His voice is perfect for the villain role..."
“Baritone Potter as Scarpia swaggered about as the villain, relishing the mental torture he put Tosca through in his menacing aria that translates as “Yes, they say I am venal.” His voice is perfect for the villain role, and he used his tall, lanky frame to full advantage in the seduction scene.”
– The Connecticut Day
"...sonorous bass is especially musical..."
“Hunding, Sieglinde’s barbaric husband, was sung by Andrew Potter. He is imposing in stature, and his sonorous bass is especially musical in its colors and contrasts. The role is not especially large even in uncut productions, but he made the most of his opportunities, and in his hands the part was believably dramatic and rightfully fearsome rather than repugnant.”
– Pittsburgh in the Round
Cups of Coffee
Some Recent Work
A Thousand Splendid Suns, Seattle Opera, 2023
Iolanta, Pacific Opera Project, 2022
Rusalka, Portland Opera, 2023
The Magic Flute, Eugene Opera, 2022
Whether you’re looking for photos, video, or audio, there’s a little bit of everything on my media page. Have a look and listen, then reach out for booking inquiries!
Get In Touch
I’d love to talk with you about collaborating on your next project! Please don’t hesitate to reach out with inquiries or scheduling questions.