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Operatic Basso 

Andrew Potter


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