In Carissimi’s Jonas

“…God’s command [which was] announced with booming authority by baritone Sepp Hammer”
-San Francisco Classical Voice

In Bach’s St. Matthew Passion

“…the role of Jesus was sung by baritone Sepp Hammer. His was a quiet smoothness, private and sepulchral, with enough low grit to embody the inner strife and luminance of a prophet.”
-Berkeley Times

In Zelenka’s Missa dei Filii

“delivered masterful and expressive solos”
-San Francisco Classical Voice

In Haydn’s Salve Regina

“had wonderfully expressive and clear moments throughout”
San Francisco Classical Voice

As Falke in Die Fledermaus

“Sepp Hammer was in fine voice and character as the suave and sophisticated Dr. Falke”
-The Worcester Telegram & Gazette

As John Proctor in The Crucible

“showed warm baritone gravity”
-The Boston Globe

As Escamillo in Carmen

“Granted, the resources of this new and intrepid opera company are limited, but apparently not the talents of its members, who offered a fine performance of [Carmen]. …soloists, dancers and chorus moved fluently and purposefully on stage, the action always aligned with the story. …All of this would be irrelevant, of course, if the singers did not come through. They did… but more importantly, many of these youthful voices showed real promise for the future…. Escamillo was beautifully sung by Sepp Hammer.”
-The Boston Musical Intelligencer

As the Count in The Marriage of Figaro

“Mr. Hammer sang beautifully…”
-The Littleton Independent

As Otto ten Broek in The Inman Diaries

“[The principal singers] were all in fine voice, with Hammer seeming to sport the most powerful singing voice of all”