Read Theo Hoffman's culture profile in the Wall Street Journal

"Opera Obsessive Gets a New View of the Met"


Read Hoffman's juilliard journal interview: 

"vocal arts honors recitalists prepare"


"With easy control, Hoffman’s strong, warm voice filled the space...the entire room sat mesmerized. Hoffman transfixed audience members, several of whom had moved to the floor in front of the piano by the end of the set. In the final chorus, he closed his eyes, spread his arms out like wings and released his powerful voice full-throttle. This was a performance so visceral, so equally raw and refined, it felt completely fresh." -LA Times
"From his first entrance chasing after flying puppets, Theo Hoffman’s geeky birder Papageno was a crowd-pleaser, with a solid, burnished baritone and a handy way with a self-deprecating retort." -Opera News "Die Zauberflöte - Juilliard Opera"
"Theo Hoffman, the Aeneas, sang with persuasive commitment and displayed a roaring baritone that seemed like it should have emerged from a body much beefier than his compact frame." -Opera News "Dido and Aeneas - New York Lyric Opera"
'“Waldesnacht” (In the forest) was followed by “Norwegian Wood;” “Der Wanderer an den Mond” (The wanderer and the moon) was paired with a duet version of “She’s Leaving Home.” Blier noted that the idea for the pairing was spearheaded in part by performer Theo Hoffman, who not only lent his lush baritone to an expert rendition of “Du bist die Ruh,” but also accompanied himself—on the guitar—while he did so. As unconventional as this was, it’s hard to imagine, after Hoffman’s rendering, that Schubert could have willed it any other way. Hoffman played guitar for most of the Beatles selections, and also lent a cool falsetto to high harmonies. He was a star of the evening..." -Opera News "Schubert and the Beatles" 
If I could have awarded one more prize, it would have gone to the baritone Theo Hoffman, who sang scenes from Korngold's Die tote Stadt, and Gluck's Iphigénie en Tauride with refined intensity and - especially in the Korngold - a seemingly intuitive understanding of how to integrate a voice into a plush orchestral texture." -The New York Times "Five Young Winners, and Others, at National Council Auditions"
"His voice [was] as concentrated and rich as a bouillon cube..." -The New York Times "Britten in Juilliard's Spotlight at Alice Tully Hall"