Florian Sempey brings a tone that’s almost heroic. There is a superb tingle to his description of the arrival of the unknown priestess, and his Act 3 aria is sung with gorgeous tone and controlled emotion. There is beauty and colour aplenty here, which is about all you could ask of this role.
Music Web International, Simon Thompson
Diese ganzen Skeptizisma vorweg, ist man très baff, welche Tiefe und welche Facetten Florian Sempey seinem Hamlet verleiht. Als Zweifelzausel tritt er auf, von sinnenden Celli begleitet. Und als bewährter Figaro hat Sempey nicht nur die Haare schön, sondern weiß auch wohldosierte Komik ins Ringen und Wringen und Singen seines Hamlet zu bringen. Phänomenaler Darsteller! Vor allem jedoch hat er auch die Stimme schön: ein warmer, empfindsamer Bariton, der aber ebenso passioniert attackieren kann.
We are truly stunned by the depth and facets that florian sempey gives to his hamlet. He enters the scene, strange character, accompanied by the reverie of the cellos. And this recognized figaro does not only have beautiful hair, he also knows how to slip into the vicissitudes and the singing of his hamlet a well-dosed comic. Phenomenal Interpreter! But before all things the voice is beautiful: sensitive and warm baritone whose attacks are just as passionate.
Hundert11, Albrecht Selge
Sempey was secure on the scene and his connection with maestro Michele Mariotti in the pit was perfect. Sempey’s voice blended perfectly with Yende and Pertusi in their duets together and he provided a velvet timbre and vocal line for his entrance aria “Bella siccome un angelo,” which was sung with an exquisite taste. Finally, his technique and diction during the frenzied duet with “Don Pasquale” were perfect in timing and measure.
Opera Wire, Mauricio Villa
La vedette incontestable de la soirée est le baryton Florian Sempey. Sa tenue de camping à la montagne, son jeu d’acteur d’une justesse déconcertante, sa maîtrise vocale non moins remarquable : rien ne manque à sa performance pour qu’elle soit magistrale. Papageno est un personnage auquel Sempey est habitué et cela se voit dans la fluidité et la simplicité avec lesquelles il aborde un des rôles les plus aimés de l’histoire de l’opéra.
Bachtrack, Georgiana Hatara
It is surely possible to say that young baritone Florian Sempey will be (probably is) the reigning Figaro of our day. Less a look-alike of an imagined young Rossini now than in his Pesaro Figaro in 2015 he once again succeeded in bringing perfect Rossinian spirit to this comic hero. Mr. Sempey has facile, graceful movement on stage, and facile command of Rossini’s vocal requirements, singing in strongly focused, beautiful tone….
Opera Today, Michael Milenski
The bravura, magnetism, and range of Rossini’s Figaro have found an ideal partner in the French baritone, Florian Sempey, who makes Il barbiere di Siviglia a focus of his dynamic international career. With star turns on the stages of Opéra de Paris, Chorégies d’Orange, Rossini Festival, Royal Opera House, Covent Garden, Théâtre des Champs-Elysées, and Teatro dell’Opera di Roma, the 2019-20 season includes performances of Il barbiere di Siviglia at the Opéra national de Paris conducted by Carlo Montanaro in a production by Damiano Michieletto and at the New National Theatre Tokyo under the baton of Antonello Allemandi, Rimbaud in Le comte Ory – opposite Cecilia Bartoli – with Opéra de Monte-Carlo under the baton of Gianluca Capuano produced by Moshe Leiser and Patrice Caurier, and Conte Almaviva in Le nozze di Figaro at the Opéra national de Bordeaux conducted by Marc Minkowski.
Last season multiple engagements with the Opéra national de Paris included a new production by Andreas Kriegenburg of Les Huguenots conducted by Michele Mariotti, La cenerentola conducted by Evelino Pidò in a production by Guillaume Gallienne, and Die Zauberflöte led by Henrik Nánási in the company’s acclaimed production by Robert Carsen. Further performances brought the baritone to Opéra national de Bordeaux for Il barbiere di Siviglia under the baton of Marc Minkowski and to Deutsche Oper Berlin for the title role of Thomas’ Hamlet conducted by Yves Abel. A concert highlight of the season included a debut at the Wiener Musikverein in performances of Berlioz’s Lélio with Philippe Jordan on the podium of the Wiener Symponiker.Read More
Florian Sempey bowed as Malatesta in the first production of Don Pasquale ever presented at the Palais Garnier by Opéra national de Paris, sang Enrico in Lucia di Lammermoor at the Opéra national de Bordeaux-Aquitaine, and appeared at the Royal Opera House, Covent Garden in back-to-back engagements as Schaunard in La bohème conducted by Sir Antonio Pappano and as Papageno in Die Zauberflöte under the baton of Julia Jones.
Florian Sempey made his professional stage debut at the age of 21 as Papageno at the Opéra national de Bordeaux-Aquitaine and he continues to enjoy a rich association with his “home” theater. Subsequent international debuts include Faust at Dutch National Opera, La favorite at Deutsche Oper Berlin, Die Fledermaus at theThéâtre National de l’Opéra Comique, Lucia di Lammermoor at Oper Köln, and Conte Almaviva in Le nozze di Figaro at Drottningholms Slottsteater. He often collaborates with conductors Paul Daniel, Philippe Jordan, Marc Minkowski, Henrik Nánási, Raphaël Pichon, JérémieRhorer, and Giacomo Sagripanti and has been directed by such luminaries as Ivan Alexandre, Robert Carsen, Sir David McVicar, and Laurent Pelly.
No less prolific is Florian Sempey’s concert career with solo recitals throughout France partnered by Jeff Cohen and Antoine Palloc and symphonic performances of Chausson’s Poème de l’amour et de la mer with the NDR Sinfonieorchester, Mahler’s Lieder eines fahrenden Gesellen with the Orchestre national du Capitole de Toulouse, Orff’s Carmina Burana with the Choeur de l’Orchestre de Paris, Missa di Gloria by Puccini with the Orchestre national de France, and concert performances of Berlioz’s Béatrice et Bénédict with the Orchestre de l’Opéra national de Paris, Bizet’s Les Pêcheurs de Perles with the Orchestre national de Lille, Gluck’s Armide with the Musiciens du Louvre, Lalo’s La Jacquerie with the Orchestre philharmonique de Radio-France, and Ravel’s L’Heure espagnole with the Orchestre national Bordeaux-Aquitaine.