Stefano Semprini, undertook the study of the bassoon with Maestro Paolo Biagini at the Istituto Pareilato Liceo Musicale G. Lettimi in Rimini, graduated with excellent marks at the G. Rossini Conservatory in Pesaro, winning the "Bellini" scholarship for merit. He later perfected himself with Maestro Klaus Thunemann and Maestro Daniele Damiano.

He has gained a long concert experience in the orchestral field as first bassoon, bassoon in a row and contrabassoon collaborating with: Orchestra of the Teatro Lirico di Spoleto, Symphony Orchestra of Savona, Regional Orchestra of Rome and Lazio, Philharmonic Orchestra of Verona, Regional Orchestra Venetian Philharmonic, Arturo Toscanini Symphonic Orchestra of Parma, Haydn Orchestra of the Autonomous Province of Trento and Bolzano, Camerata Instrumental Orchestra of the City of Prato, Orchestra of the Municipal Theater of Bologna, Orchestra of the Marrucino Theater of Chieti, Orchestra of the Italian Swiss Radio, Regional Philharmonic Orchestra Marchigiana, Orchestra Pomeriggi Musicali of Milan, Orchestra of the Teatro Regio in Turin, Orchestra of the National Academy of Santa Cecilia in Rome.

He currently collaborates with the Maggio Musicale Fiorentino Orchestra, the Symphony Orchestra of the Republic of San Marino, the Tuscan Regional Orchestra, the Bruno Maderna Orchestra of Forlì, the Orchestra of the Teatro Comunale of Bologna, the Orchestra Teatro alla Scala of Milan. and the Swiss Italian Orchestra of Lugano.

He has played with conductors such as: Di Stefano, Lu Ja, Maazel, Muti, Bressan, Pretre, Conlon, Inbal, Renzetti, Kuhn, De Bernard, Soudan, Nelsson, Turkovic, Franklin, Pappano, Temirkanov, Harding, Steffens, Dudamel and Barenboim .

He was a finalist in the competitions for the first bassoon banned by the Teatro Real in Seville, by the Teatro alla Fenice in Venice and by the Orchestra of Italian Switzerland.

He was the first of those eligible for the auditions announced by the Marrucino Theater of Chieti and the Teatro Lirico of Cagliari for bassoon in a row with the obligation of the first bassoon and contrabassoon.

It was also suitable for auditions banned by numerous orchestral realities mentioned above.