Praised by Opera News for her "relish and energy," mezzo-soprano MAX POTTER is an up-and-coming artist known for her beauty, warmth of tone and dramatic presence.
This Fall, Max returns to The Muses Creative Artistry Project for performances of Die Zauberflöte as Second Lady and Papagena. She then makes her 92Y debut in a concert of arias with The Phoenix Ensemble, and joins Pittsburgh Festival Opera for the Mildred Miller International Voice Competition.
During the 2018|2019 season, Max performed Clarina in Rossini's La Cambiale di Matrimonio, covered the role of Ortrud, and sang Dritte Edelknabe, in Wagner's Lohengrin for Opera Southwest. She then joined Salt Marsh Opera for Mozart's Die Zauberflöte as Second Lady and Papagena. The season also included the world premiere of "City Life," a collection of songs by New York-based composer and poet Steve Bloom, her company debut with Bare Opera as Damigella in L'incoronazione di Poppea, and her role debut as Dorabella in Mozart’s Così fan tutte for The North Shore Music Festival.
Max's previous engagements include covering the role of Sister Helen Prejean in Jake Heggie's contemporary opera Dead Man Walking. With Aspen Opera Center, she honed her craft performing such classic roles as Romeo (I Capuleti e i Montecchi), Dorabella (Così fan tutte), L’enfant (L’enfant et les sortileges), and Zerlina (Don Giovanni). During that time, she also covered Meg Page in Verdi’s Falstaff and the Beggar Woman in Sweeney Todd. She appeared in Mozart's Don Giovanni as Donna Elvira and Tebaldo in Verdi's Don Carlo with Vocal Productions NYC, sang Charlotte in Massenet's Werther with the Martha Cardona Opera, and performed the role of Second Lady for Festival of the Arts BOCA. Other roles include Mercedes (Carmen), Concepcion (L’heure espagnole), Flora Bervoix (La Traviata), and Zita (Gianni Schicchi).
Equally at home on the concert stage, Max has shown her natural affinity for new works. With New Camerata Opera, she was featured in The Sacred Feminine, an innovative performance piece celebrating the work of Emily Dickinson through spoken word and art song. At Des Moines Metro Opera, she sang Heggie’s The Breaking Waves in recital for the composer. In the 2020|2021 season she returns to The Phoenix Ensemble for performances of Ned Rorem's song cycle, Ariel.
Max has been a featured soloist at the Kennedy Center for Performing Arts, the Washington National Cathedral, Festival of the Arts BOCA and the Oklahoma International Mozart Festival. Concert credits include Ravel’s Shéhérazade Mozart's Requiem and Vesperae solennes de confessore, Haydn's Sancti Nicolai Messe, Monteverdi's Vespro della Beata Vergine, and Carissimi's oratorios, Jepthe and Jonas.
The artist is an alumna of The Aspen Opera Center, Des Moines Metro Opera Apprentice Program, CoOPERAtive, The Opera Southwest Apprentice Artist Program, and New York's International Vocal Arts Institute. She is a recipient of awards from the Metropolitan Opera National Council, The Young Musicians Foundation, and Westminster Choir College's CoOPERAtive Program. She has been a semi-finalist for The Annapolis Opera Vocal Competition, The Premiere Opera International Vocal Competition, The Paris Opera Competition and was a preliminary finalist for the Deborah Voigt International Vocal Competition at Vero Beach Opera.
Max Potter holds a Masters Degree from Indiana University's Jacobs School of Music, and did her undergraduate work at Northwestern University's Bienen School of Music.