(Final version accepted 14 April 2012)

‘Little Hans’ is one of the most highly commented cases in the psychoanalytic literature. His work as an opera director from 1925 in Europe and then in the United States of America is much less well known. This may seem especially surprising given that Freud very soon detects Hans's emerging interest in this subject. Yet Freud does not mention it either in 1909 when he reports the case, or when Hans visits him in 1922, even though Hans had already decided to become an opera director at this point. The author of this article endeavours to show how this artistic choice could be understood as a way of accommodating, in a double transference relationship with Freud and with his father, the unanalysed residue of the ‘Krawall’ (a term invented by Hans) and ‘the black thing’, both of which appeared during the phobic period.