Praised by Opera News for her "relish and energy," mezzo-soprano MAX POTTER is an up-and-coming artist known for her warmth of tone and dramatic presence.
The 2020 | 2021 season featured a world premiere recording of Constantine Carvasilis’ song cycle ‘Epiphany,’ a concert series with The Muses Project with a gala performance at the Arkansas Governor’s Mansion for Governor Asa Hutchinson, and Max’s mainstage debut with Opera Santa Barbara as Flosshilde in Wagner’s ‘Das Rheingold,’ in which she also covered the role of Fricka. As a member of the Opera Santa Barbara Chrisman Studio Artist Program in 2021, Max gave her debut performance of Berlioz's beloved 'Les nuits d'ètè' in an innovative staging by Sara E. Widzer. She was intended to make her debut as Meg in Adamo’s ‘Little Women’ and perform the role of Flora Bervoix in Verdi’s ‘La Traviata,’ unfortunately both productions were canceled due to COVID-19.
In the 2021 | 2022 season, Max looks forward to making her symphonic debut as the Alto Soloist in Mendelssohn’s ‘Elijah’ at The Washington National Cathedral, to joining Brooklyn’s American Opera Project as a resident singer for the company’s ‘Composers and the Voice’ fellowship, and to returning to Chautauqua Opera as Jenny Reefer in Virgil Thompson's 'The Mother of Us All' as well as joining the workshop of Derek Bermel and Sandra Cisneros' new opera 'The House on Mango Street.'
During the 2019 | 2020 season Max was scheduled to make company debuts with Maryland Lyric Opera as La Ciesca in Puccini’s ‘Gianni Schicchi’ and The Chautauqua Opera Company as Jenny Reefer in Virgil Thompson’s ‘The Mother of Us All, and perform in a feature film debut as La Ciesca in ‘Gianni Schicchi’ with Mark Delavan in the title role. Unfortunately, due to COVID-19, these events were canceled or rescheduled to later seasons. Her 2018 | 2019 season featured performances as Clarina in Rossini's La Cambiale di Matrimonio, covering the role of Ortrud, and singing 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 and recital hall, 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 was contracted to make her symphonic debut as the Alto Soloist in Mendelssohn’s Elijah at The Washington National Cathedral (performances rescheduled for the 2021|2022 season), make a return to The Phoenix Ensemble for performances of Ned Rorem's song cycle ‘Ariel’ (performances canceled due to COVID-19), and present Elgar’s ‘Sea Pictures’ for the Duban Recital Series (canceled due to COVID-19).
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, Canto Vocal Programs 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. Max has been a semi-finalist for The Annapolis Opera Vocal Competition, The Premiere Opera International Vocal Competition, The Paris Opera Competition, the Mildred Miller International Vocal Competition, and the MIOpera Vocal Competition.
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.