Sarastro

Uh, and in a way, this mini concept that, um, actually does not change anything in the piece, it just, um, digs maybe even deeper into the philosophical, uh, part of it.

Those two characters, which are the Queen of the Night and Sarastro, the, the character that, that present the good against evil, although we don't really know who is the evil, who is the good, the light against the darkness, they present the old world.

They are also kind of old-looking, um, dolls.

And during the piece, and especially towards the end, the real character, I mean the, the soprano that sings the Queen of the Night, and the bass that sings Sarastro, and the other characters, the humanity itself, itself get, um, they get rid of the dolls.

They get rid of the, the, the dolls that present the old world and the salvation of humanity and solving those problems of the old world, according to Mozart and according to the director, happens toward the, um, end of the piece.

So it's a mini concept that, uh, follows, um, basically general, conventional in a positive way, and traditional Magic Flute.

Standing at an imposing six foot ten inches, Potter is renowned across the opera industry for his true resonant basso profundo voice and massive physical presence on the stage.

His operatic career has featured major roles such as Baron Ochs in Strauss' Der Rosenkavalier, Sarastro in Mozart's Die Zauberflöte, and Mephistopheles in Gounod's Faust.

He has performed with prominent regional and national opera companies, including Seattle Opera, Dallas Opera, Atlanta Opera, and has also covered roles on the roster of the Metropolitan Opera.

Recently, he was offered a main stage debut at the Met for the fall/winter of two thousand twenty-six, but he's unsure if he can pursue it.