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A graduate of The Juilliard School and recipient of the Sara Tucker Study Grant from the Richard Tucker Music Foundation, Theo Hoffman’s 2022-2023 season includes his role and house debut with Staatsoper Hamburg as Prosdocimo in Rossini’s Il turco in Italia. He begins the season with the Moab Music Festival in a variety of concerts.  Future seasons will feature his Opernhaus Zürich debut.


The 2021-22 season included a number of exciting company debuts for the baritone. He appeared with the Israeli Opera as Papageno in Barrie Kosky's Die Zauberflöte, and later in the season as Count Almaviva in a new David Pountney production of Le nozze di Figaro. Additionally, he made his Seattle Opera debut as Schaunard in La bohème, his debut with Berkshire Opera Festival as Charlie in Jake Heggie's Three Decembers, and performed Schubert’s Die schöne Müllerin at Castleton with pianist Bradley Moore. Hoffman also appeared as Frédéric in Delibes' Lakmé with Washington Concert Opera, with the Pacific Symphony for Handel’s Messiah, and as Pierrot in Ethel Smyth's Fête Galante with the Bard Music Festival.

Originally scheduled to make his company and role debut in the 2020-2021 season as Figaro in Il barbiere di Siviglia with Atlanta Opera (cancelled due to the pandemic), he instead joined their Molly Blank Big Tent Series, singing Escamillo in Carmen. During the COVID-19 shortened 2019-2020 season, Mr. Hoffman began with his debut with Opera Philadelphia as Denis in the critically praised world premiere of Denis & Katya by Philip Venables, followed by his return to Los Angeles Opera as Papageno in Die Zauberflöte. On the concert stage, he debuted with Saint Paul Chamber Orchestra, singing Handel’s Messiah, returned to New York Festival of Song, performed with Southern Oregon Repertory Singers as a soloist in Joby Talbot’s Sheen of Dew, and was slated to tour with Apollo’s Fire as a soloist in the St. Matthew Passion (cancelled).

Mr. Hoffman's 2018-2019 season included a role debut as Count Almaviva at Opera Theatre of Saint Louis, Mr. Kallenbach in Satyagraha with Los Angeles Opera, Paul in Les Enfants Terribles with Opera Omaha, as well as performances with the Israel Philharmonic Orchestra and the prestigious Stiftung Mozarteum Salzburg Mozartwoche, where he performed Colas/Buff in Bastien und Bastienne/Der Schauspieldirektor. Other notable recent operatic performances include Josef K. in the American Premiere of The Trial by Philip Glass at Opera Theatre of Saint Louis and Schaunard in La bohème with Atlanta Opera.

The Manhattan-born baritone trained at Los Angeles Opera as a Domingo-Colburn-Stein Young Artist. While a young artist, he performed Maximilian in Francesca Zambello's acclaimed production of Candide under the baton of James Conlon, as well as Le Dancaïre in Carmen. He debuted as Il medico in Macbeth, and performed Second Nazarene in Salome, Hermann in Les contes d'Hoffmann, First Editor in Wonderful Town, and covered Horemhab in Akhnaten.

A fast-rising recitalist and concert performer, he made his Carnegie Hall debut with the Cecilia Chorus of New York for Beethoven’s Choral Fantasy, and was presented in recital at The Kennedy Center in the 2017-18 season by Vocal Arts DC as the Gerald Perman Emerging Artist. He joined the New York Philharmonic for a chamber concert of Wolf and Mahler, and has appeared at Alice Tully Hall in recital and with Juilliard Songfest. Mr. Hoffman made his debut with the New York Festival of Song in 2013 and has since joined NYFOS regularly. A former SongFest Stern Fellow, his other recital and chamber music credits include Juilliard ChamberFest as well as works on Juilliard’s Songbook and Liederabend series, Arizona Musicfest as the baritone soloist in Carmina Burana​, and completed a summer Mozart Residency at the Festival d’Aix-en-Provence.

Mr. Hoffman completed his Bachelor of Music at The Juilliard School. He was a Grand Finalist in the 2016 Metropolitan Opera National Council Auditions, and a 2015 third prize-winner in the Gerda Lissner Foundation’s International Vocal Competition, as well as the recipient of a Richard Gaddes Career Grant from Opera Theatre of Saint Louis.

Opera Theatre of St. Louis – The Trial

"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.”

- James Sohre, Opera Today


“And what a premiere! 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.”

- Sarah Fenske, Riverfront Times


“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.”

- Sarah Bryan Miller, St. Louis Post-Dispatch

Los Angeles Opera – After Hours: A Musical Nocturne

"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.”

- Catherine Womack, LA Times

Metropolitan Opera – National Council Audition Grand Finals

"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’sIphigénie 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.”

- Corinna da Fonseca-Wollheim, New York Times

Juilliard Opera – Die Zauberflöte

"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.”

- Joanne Sydney Lessner, Opera News

New York Festival of Song – Schubert and the Beatles

“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…”

- Maria Mazzaro, Opera News

New York Lyric Opera – Dido and Aeneas

"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.”

- Fred Cohn, Opera News

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Theo Hoffman