Theo Hoffman

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© 2017 by Theo Hoffman. Designed by Jennie Moser.

Press

"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 anchor of the production is the physically slight, 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. His beautifully internalized acting made K a wholly engaging personality, a sympathetic patsy whose victimization was first cruelly comical, then horrifyingly tragic. His beautifully modulated singing was even throughout all registers, and was as notable for its powerful bursts of indignation as for its introspective, whimpering cries of disbelief. Theo has created as thrillingly definitive a rendition of this central character as is likely possible."
OPERA TODAY
"As Josef K., Theo Hoffman appears and sings in every scene, displaying remarkable endurance and a gorgeous, wide-ranging baritone. By turns bewildered, defiant and lusting, he seems to shrink into himself at the inevitability of the final scene, in a memorable image."
ST. LOUIS POST-DISPATCH
"Sunday's flawless performance came with one of those endings where the audience was holding its breath and didn’t even realize it until that startling closing line (no spoilers here, though it’s in the book). You could almost hear the collective gasp — and then everyone jumped to their feet. Theo Hoffman, who stars as the hapless Josef K., came in for the most applause, and rightly so: He was on stage for every minute of the show, and he was simply incredible." 
THE RIVERFRONT TIMES
"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."
"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."
'“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..." 
"His voice [was] as concentrated and rich as a bouillon cube..."
"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."