English Press / Reviews

LES CONTES D’HOFFMANN - Das Orchester: von Uwe Kraus: Throughout this tragedy Raymond Sepe's vocal brilliance shines, paired with a refreshing stage presence...

Von Hans Walter: ...with Sepe the listener feels the sovereignty in handling this character...the applause lasted for a quarter of an hour with bravos calling out during the standing ovation...

DON CARLOS - Orpheus von Herbert Henning: Raymond Sepe is thoroughly convincing up through the finale with his large heroic voice and singing energy...

Mitteldeutsche Zeitung von Uwe Kraus: In the title role of Don Carlos the audience experiences a remarkably young and naive king's son. Raymond Sepe articulates cleanly and has limitless passion in his belcanto...enormous luster comes across...

Volkstimme von Liane Bornholdt: Raymond Sepe superbly masters the Italian Fach and dominates the production vocally...

ORPHEUS IN DER UNTERWELT von Dietrich Pätzold: Raymond Sepe gives his Orpheus a casual machismo and a touch of Heldentenor Opera parody.

TOSCA - Mitteldeutsche Zeitung von Uwe Kraus - Raymond Sepe offers secure high notes with a radiant lyric ring. Acting wise he expressed with oppressed intimacy the trauma of Scarpias torture. Sepe phrases a calm euphoria throughout while he describes his love for Floria Tosca and a coolness while up against the hypocritical Scarpia...

An evening with big voices and emotions: von Hans Walter - Intense in the 3rd act, “E lucevan le stelle” is a masterpiece for the tenor Raymond Sepe...

LES CONTES D’HOFFMANN - In Philipp Harnoncourt’s staging an individual Hoffmann is realized by Raymond Sepe, who loses his grip on reality and only at the finale has confirmation of his life…many ovations from a full house...

DEATH IN VENICE - Benjamin Britten - Kultur in Krefeld von Klaus M. Schmidt: The American Raymond Sepe sang the difficult role of Gustav Von Aschenbach in Theater Vorpommern a year ago and could jump in on short notice for our premier…Hats off for Sepe, who reactivated the role with a permanent stage presence...

LA FORZA DEL DESTINO - Volkstimme A Verdi Tenor like Raymond Sepe as Alvaro is not found that often. A shining metallic heroism paired with flexible lyric internalization is what his voice offers...the man is one of a kind...

AIDA - Ostseefestspiele Der Neue Merker von Gitta Ranft: Raymond Sepe, italian american, was constantly present with his dark colored, powerful, yet flexible tenor voice and offered as well as heroic tones a lyric quality...

DEATH IN VENICE- Benjamin Britten - Ostsee-Zeitung von Ekkehard Ochs: Raymond Sepe as Aschenbach, who portrays vocally and creatively this incredibly demanding role with tormented intensity, sang with a declamatory, original, and vividly expressive sound.

CANDIDE - Blickpunkt Musical: Raymond Sepe as The Governor sang with tireless brilliant high notes.

LE NOZZE DI FIGARO - Ludwigburger Festspiele Der Neue Merker von Udo Klebes: As a sardonic Basilio, Sepe sang the aria “In quegl’anni” with an individual timbre.

WERTHER - Love until death…Ostsee Anzeiger – The tenor Raymond Sepe lives up to Massenet’s intentions: power and Schmeltz in one, a truly ideal casting!

Orpheus International - Musikszene by Ingeborg Kalkus: Raymond Sepe grasps the sensitive character of Werther with feeling and presence which intensifies dramatically and vocally...

GRÄFIN MARIZA - Operetta by Emmerich Kalman, Ostsee-Zeitung - Raymond Sepe, an American with Italian roots who is cast as Count Tassilo, proves to be a lucky hand for this theater. With wit, humor and a portion of nostalgia, he is convincing as the poor count. His tenor: one of a kind, his acting: easy, relaxed and full of verve…to top it off he also impresses us as a dancer!

STIFFELIO – Verdi - Ludwigsburger Festspiele Stuttgarter Zeitung von Horst Koegler: impressive was the handsome tenor Raymond Sepe...

PHAUST – by Tony Schemmer - Opera News - by Thor Eckert, Jr. - In the excellent local cast, tenor Raymond Sepe, the Mefisto, was the only one to achieve the Bluesy-Pops idiom necessary for this contemporary opera.

The Boston Globe by Richard Dyer: Outstanding in the cast was Raymond Sepe, the tenor Mefisto who has to be Sportin Life and Alfred Deller and Nemorino and Peter Maxwell Davies‘ Mad King simultaneously!

Ham & High, London by Stuart Jeffries: Particularly excellent was the rich tenor of Raymond Sepe as Manrico in the scene from Verdi’s “Il Trovatore”.

Durrant’s London by Michael Darvell: In the scene from “La Fanciulla del West“ (Puccini), Raymond Sepe as Dick Johnson sings the hero’s role as well as anyone I can think of...

RIGOLETTO – Utrechts Dagblad : Raymond Sepe as the Duke had the ideal charisma for the bon vivant women seducer – seducing and making conquests in the audience as well...a real “jeune premier“

SWEENEY TODD - The Milwaukee Journal, Tom Stirni: Raymond Sepe gave a show-stopping performance as the flamboyant fake Italian barber, Pirelli.

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