Andrew W. Potter

Bass Andrew Potter has garnered increasing demand across the country for his larger-than-life stage presence with a voice to match. Last season, Mr. Potter made his Florida Grand Opera début as Sarastro in Die Zauberflöte, returned to Seattle Opera as Panthée in Les Troyens, took his Angelotti in Tosca to Richmond Symphony, joined Opera Omaha to sing the Commendatore in Don Giovanni, and joined the roster of The Metropolitan Opera to cover Sarastro in Simon McBurney’s Die Zauberflöte. This season, he returns to The Metropolitan Opera to cover Timur in Turandot, and he débuts with Los Angeles Dream Orchestra to sing the same role in their semi-staged concert production of Turandot. In addition, he will return to Dallas Opera as the Jailer/Javelinot/Thierry in Dialogues of the Carmelities, début with New Orleans Opera as Baron Ochs in Der Rosenkavalier, sing Basilio in Il barbiere di Siviglia with Nashville Opera, and return to Opera Omaha for his role début as Blitch in Susannah.

“Coming back from back surgery, my first contract was a cover at the Met – Timur in “Turandot.” My son had asked if I was willing to have him spend his gap year with me, so I did the thing this industry quietly punishes: I kept my family beside me. We arrived in New York to discover our rental had been a scam. And because the Met requires its singers to fund their own housing, the scramble that followed was ours alone – last-minute hotels (one left us with bedbug bites and another midnight move), short-term rentals, whatever the city had left. By the end of the contract, emergency housing had consumed most of my fee, and New York’s food and transportation took the rest. I sang at the Metropolitan Opera and came home with nothing.”

– Andrew Potter, Operawire