Hailed by the LA Times for his "visceral, yet equally raw and refined" performances, Theo Hoffman is already renowned as one of the most exciting and versatile young singers of his generation. Current and future highlights see Hoffman return to Los Angeles Opera as Papageno in the critically acclaimed Kosky production of Mozart The Magic Flute and create the role of Denis in the highly anticipated new Philip Venables and Ted Huffman collaboration Denis and Katya for Opera Philadelphia. He also makes his house debut at Seattle Opera as Schaunard in La bohème and sings Count Almaviva in Mozart Le nozze di Figaro for Opera Theatre Saint Louis. On the concert stage, Hoffman returns to New York Festival of Song and makes his debut with the St. Paul Chamber Orchestra. Earlier this season he appeared for the first time with the Israel Philharmonic Orchestra under the baton of Marin Alsop, and at the Mozartwoche in Salzburg, curated by Rolando Villazón.
Hoffman has appeared in a variety of major repertoire at LA Opera, including Mr Kallenbach in Philip Glass Satyagraha and Maximillian in the Zambello production of Candide. He performed Paul in Darrah’s production Les enfants terribles for Opera Omaha and The Steward in Kristine McIntyre’s production of Jonathan Dove Flight. He has joined forces with composer/conductor Matthew Aucoin in a series of after-hours concerts at LA Opera entitled The Song: From Schubert to Springsteen as well as a chamber concert in conjunction with The Colburn School. He has worked in concert with the Los Angeles Philharmonic Orchestra, and the New York Philharmonic Orchestra in a chamber series.
As an in-demand recitalist, Hoffman made his debut with the New York Festival of Song in 2013 in its Ports of Call programme at the Caramoor Center for Music and the Arts and later performed at Carnegie Hall with the organisation in its 2014 spring gala commemorating Leonard Bernstein. Since then, he has joined NYFOS for their After Hours and NYFOS Next series, as well as Craigslistlieder, Other Love Songs and Great American Songwriting Teams at Juilliard. In 2016, he was named a member of their Artists Council after his curatorial involvement in Schubert/Beatles, which makes future appearances with Moab Music Festival and Lyric Opera of Kansas City. In 2014, he made his Alice Tully Hall debut in Juilliard Songfest, at which he performed Britten Songs and Proverbs of William Blake with Brian Zeger. A former SongFest Stern Fellow, his performances included joining Martin Katz for Ravel Don Quichotte a Dulcinée and a recital curated by John Musto that included the composer’s The Brief Light at The Colburn School in Los Angeles. His other recital and chamber music credits include Barber Dover Beach with Juilliard ChamberFest as well as works on Juilliard’s Songbook and Liederabend series and performances at the Chautauqua Institution and the Eastman School of Music.
Hoffman completed his Bachelor of Music degree at The Juilliard School, where he was the winner of the 2015 Juilliard Vocal Arts Honors Recital, and was presented in recital at Alice Tully Hall. He joined the LA Opera as a Domingo-Colburn-Stein Young Artist in 2016. He is the recipient of a Richard Tucker Music Foundation Sara Tucker Study Grant and was a Grand Finalist in the Metropolitan Opera National Council Auditions.
The production’s fire came from Theo Hoffman... his performance ought to serve as a letter of introduction to opera houses around the world. Streams of silver poured from his mouth; he was the bright moonlight in the cool, creepy, cirrusy sky of Glass’s score.
The anchor of the production is the vocally towering performance of Theo Hoffman as Josef K. Seldom off stage, Mr. Hoffman deployed his ringing baritone to tremendous effect, mining every nuance out of a wide-ranging, emotionally draining characterization. Theo has created as thrillingly definitive a rendition of this central character as is likely possible.
With easy control, Hoffman’s strong, warm voice filled the space...the entire room sat mesmerized. This was a performance so visceral, so equally raw and refined, it felt completely fresh.