New Photos and Videos Added to Galleries

With Tina & Boris

With Tina & Boris

A fascinating selection of onstage and private new photographs have been added to the galleries.  Visit here to enjoy these memories of Peter’s life and work.

Some rare television footage of Peter as Don José and as the Phantom with Anna Maria Kaufmann has been added to the Video Gallery.  Also, check out the delightfully amusing clip, The Photographer and the Operas Singer, which reveals a lighter side of Peter.


Record Producer Jeff Jarratt Recalls Happy Memories



Record producer Jeff Jarratt has taken the opportunity to reminisce about Peter Hofmann and their work together on the recordings of Monuments and Stille Nacht  at the famous Abbey Road Studios in London and about the fond memories he keeps of the time they spent together as colleagues.

Jarratt joins other colleagues, who have added their voices this to this website, including  record producer Don Reedman and band members  Danny McBride, Steve Gaboury, Peter Valentine, Nick Palumbo, and Al Marnie, and band assistant Franky Meister, all of whom toured with Peter in his Rock Classics adventures.  Read their TRIBUTES here.

Soprano Anna Maria Kaufmann Remembers Peter Hofmann

kaufmann hofmann 001

Soprano Anna Maria Kaufmann, Peter’s close friend and colleague, paid tribute to his memory once again.  Ms. Kaufmann starred alongside Peter Hofmann as Christine in Das Phantom der Oper in Hamburg in 1990-1991, and she later toured with him in 2000 singing musical theatre classics.  Ms. Kaufmann cherished  Peter Hofmann as her mentor and dear friend.  She was among those who delivered a touching eulogy at Peter’s funeral in November of 2010.  Read her recent TRIBUTE here.

Exclusive Excerpts from Fritz Hofmann’s Book on Peter Hofmann

Fritz+Peter Hofmann

London- Der Freischütz

 I had just come back from the lovely English harbor town of Ramsgate in West County Kent, where I had undertaken an English language course for several months, and before I was to begin my employment with an artist agency in Paris, Peter invited me to come to London with him for several weeks.  He had been engaged to sing the role of Max in Der Freischütz there at the Royal Opera House in Covent Garden. Read More in PETER HOFMANN TALES OF A  SINGER’S ADVENTURES. (#1, 2, 3 4, 5, 6)

Jochen Leuschner on Peter Hofmann

Foreword to Peter Hofmann Tales of a Singer’s Adventures

by Jochen Leuschner

Peter Jochen LeuschnerMy first encounter with Peter Hofmann was at the end of the 60s on a rainy Sunday afternoon at Peter’s parents’ house in Aschaffenburg (Northern Bavaria/Germany), where his mother served us coffee and homemade cake.

I came to know and to experience Peter’s passion for classical music, his goal to study singing, and his desire to make a career as a singer.  At this time, he was serving the last year of his military obligation; he was not even thirty years old and full of élan and passion for what was to come after his discharge.

From the first meeting I liked him; his grand humor and his obvious talent as a raconteur were already very much in evidence.   I remember well that first afternoon that we all laughed and enjoyed ourselves enormously.

Peter’s dream was soon to come true!  By the middle of the 70s he became the celebrated new star of the Bayreuth Festival. The public and all the media loved the new tenor with the looks of a high-performance athlete.

A few years later, when we presented our idea of Rock Classics, we were surrounded by skeptics who believed that our idea that an opera singer could also set foot in the world of pop music did not have the slightest chance of success. But luckily all of them were wrong and right from the beginning of Peter`s career as a crossover tenor took off fast and and his success story became one of the most unsusual music phenomenena in the history of Germany`s music world.

Jochen Leuschner has worked for CBS Records/Sony Music Entertainment from 1974 – 2001. First as head of A&R and later from 1984 to 2001 as the German company`s president. He knew Peter`s family due to his close friendship to brother Fritz Hofmann. For a number of years in the 60s Fritz and Jochen were local rock heroes in the Aschaffenburg region.

Read More in BOOKS. (#1)

The Twin Souls of Peter Hofmann

Twin Souls Beat in His Breastdas beste

 “There is marvelous pop music and there are mediocre operas, just as there can beprimitive pop music and great classical works!  But without a doubt Rock music is the event of this century.”  So wrote Peter Hofmann in September 1982 at Schloss Schönreuth. No other singer in recent memory had so passionately and so naturally transcended the borders between serious music and popular music.

Read More in BIOGRAPHY.

Peter Hofmann: A Short Biography

August 22, 1944- November 29, 2010

Peter Hofmann was not only a singer of extraordinary caliber with a dazzling stage presence and a glorious heldentenor voice, but he was also a unique man who had enormous charisma together with a wonderful sense of humor. He did not let himself be manipulated; he always remained true to himself and he even could occasionally become stubborn if the situation demanded it and he was convinced of his idea. His life was a study in contrasts:  here living an idyllic life in his little Schloss in the picturesque Bavaraian Oberpfalz, there in the grand opera houses and on the most important concert stages of the world.

Read More in BIOGRAPHY.

My First Engagement

ph statement 1 001


Outsiders certainly have no idea how a singer’s first engagement comes about. First one has to make the decision to become a singer.  That frequently is fraught with resistance from one’s family and circle of friends or at the very least is met with amazement and concern. One listens to dire warnings and reservations, which often do contain some truth.  If one didn’t have the strength to sweep these away without a second thought, the decision to become an opera singer was without question a poor one. If however, one makes the decision to go ahead, there are many hurdles to overcome. The first priority is to find an appropriate singing teacher, one who would be able articulate abstract concepts, who could challenge the student to bring out the talent within him.  After that, usually there would be a vocal test to pass for entrance to a conservatory. Then after a long period of study, one would audition for an agent.  If he was interested, he would arrange an audition at an opera house.