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Andrew W. Potter

Lyric Basso


My Biography

Bass Andrew Potter has garnered increasing demand across the country for his larger-than-life stage presence and voice to match. This season is set to establish 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 the 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 returns to Opera Santa Barbara as Ferrando in Il trovatore and Vero Beach Opera as the Commendatore in Don Giovanni. He also joins the Fort Worth Symphony as Hunding in Act I of Die Walküre and Pacific Symphony as Colline in La bohème.

Last season included several important house débuts: joining Seattle Opera as Abimelech in Samson et Dalila and in their world premiere of A Thousand Splendid Suns, as well as Portland Opera as Vodnik in Rusalka. Additionally, Potter joined Livermore Valley Opera as Belcore in L’elisir d’amore, performed Scarpia in Indianapolis Opera’s Tosca, Don Pizarro in Fidelio with Mid-Ohio Civic Opera, returned to Opera Grand Rapids as The Pirate King in Pirates of Penzance and to Pacific Opera Project as Don Basilio in Il barbiere di Siviglia as well as for their unique take on Mozart’s Die Zauberflöte: Superflute. Other recent engagements for Andrew include Simone in Gianni Schicchi for Tulsa Opera, Sarastro in The Magic Flute for Eugene Opera, Sparafucile in Rigoletto for Opera Orlando, Commendatore in Don Giovanni with Indianapolis Opera, and René in Iolanta with Pacific Opera Project. Concert engagements include Mozart’s Mass in C Major for Mid-Ohio Civic Opera, and Verdi’s Requiem for Michigan State University.

2022/23 Schedule

Don Basilio

Pacific Opera Project


Il Barbiere di Siviglia

August 25


Dallas Opera



October 13, 15, 18, & 21

Il Commendatore

Vero Beach Opera


Don Giovanni

January 7


Opera Santa Barbara


Il Trovatore

February 9 & 11


Atlanta Opera


A Midsummer Night’s Dream

March 2, 5, 8, & 10


Pacific Symphony


La Bohème

April 4, 6, & 9

Hunding (Cover)

Fort Worth Symphony Orchestra 


Die Walküre

April  19, 20, & 21


Detroit Opera


The Cunning Little Vixen

May 11, 17, & 19

Baron Ochs (cover)

Paul (cover)

The Santa Fe Opera


Der Rosenkavalier
The Righteous

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

" 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.”

– Schmopera

"...a bottomless bass voice."

“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.”
– Broadway World

"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


Performance History



Cups of Coffee



Some Recent Work

The Mullah

A Thousand Splendid Suns, Seattle Opera, 2023

King René

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!

Contact Me

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. 

Reach out to my management

UIA Talent Agency