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Weston Hurt

  • Baritone

Reviews

Weston Hurt press reviews

"Weston Hurt, who sang Peter, the father, was a presence even before he stepped on stage. He began his solo from off-stage, but his powerful baritone voice carried throughout the hall. Once on stage, I couldn't look away. He was expressive in voice and in body. His first drunken interaction with Maria Zifchak, who sang Gertrude, the mother, was so casual, funny, and callous, just the way a husband would converse with his wife after a few too many sips from the jug."
Emily Parkhurst
Classical Voice of New England
Peter, Hansel and Gretel - PORT Opera
"Peter (the father) was Weston Hurt, whose house filling baritone and slightly tipsy demeanor leant a heartiness to his performance that made it impossible not to like him instantly."
Paul Padillo

Father, Hansel and Gretel - PORT Opera
"As with Ford on opening night, Weston Hurt imbued the jealous husband with just the right touch of fury, making Ford's attempts to stifle his green-eyed monster while pulling his own con on Falstaff all the funnier. Even better, Hurt has a baritone as mellifluous as the best tenors."
Maggie Larrick
Queen Anne & Magnolia News
Ford, Falstaff - Seattle Opera
"(as Germont) Weston Hurt's company debut in the role came as balm to ear, eye and mind. His ability to find the humanity underlying this initially convention-bound father made much better sense of the softening that transforms him in the opera's later scenes."
Bernard Jacobson
The Seattle Times
Germont, La Traviata - Seattle Opera
"...and has a strong Svengalian partner-in-connivance in American baritone Weston Hurt’s stately and sinister Lord Cecil."
Ken Winters
The Globe and Mail
Lord Cecil, Maria Stuarda - Canadian Opera Company
"Weston Hurt delivers Schaunard's lines with warmth and elegant declamation ."
Scott Cantrell
Dallas Morning News
Schaunard, La Boheme - Dallas Opera
"As Sharpless, Weston Hurt distinguished himself as a self-possessed singer, never pressing the voice or sacrificing vocal beauty for the sake of volume."
Stephanie Adrian
Opera News
Sharpless, Madama Butterfly - Atlanta Opera
"Weston Hurt was a vocally handsome Sharpless."
Pierre Ruhe
Atlanta Journal-Constitution
Sharpless, Madama Butterfly - Atlanta Opera
"Weston Hurt, a baritone, used his strong voice with admirable restraint in the Offertory and Libera me."
Steve Smith
New York Times
Baritone soloist, Faure Requiem - Oratorio Society of New York
"Weston Hurt was a glowering bully for whom the weak minded Lucia was no match. He sang with vigorous dark tones and energized his lines with conviction."
Maria Nockin
www.mvdaily.com
Enrico, Lucia di Lammermoor - Arizona Opera
"Whalen shared the stage with a superb cast of singers that included the commanding baritone Weston Hurt in the role of Enrico."
Cathalena E. Burton
Arizona Daily Star
Enrico, Lucia di Lammermoor - Arizona Opera
"Other roles worthy of a grand applause are Amonasro, played by Weston Hurt. His striking yet beautifully colored baritone voice carries a dominant thread throughout the opera."
Orit Eylon
The El Paso Times
Amonasro, Aida - El Paso Opera
"Weston Hurt was rock solid as Frank."
Fred Kirshnit
The New York Sun
Frank, Die tote Stadt - New York City Opera
"As the Count, Weston Hurt produced a remarkably suave sound and phrased with the subtle graces of a refined lieder singer, while his acting proved every bit as nuanced and assured."
Tim Smith
Opera News
Count Almaviva, Le nozze di Figaro - Wolf Trap Opera Company
"As the count, baritone Weston Hurt was remarkable, bringing a measured villainy to this often ambiguous character. He is imperious and headstrong, yet he's frequently embarrassed by his outsized sexual appetites and hair-trigger jealousy. Mr. Hurt's booming voice and excellent diction were well-suited to this role, and his mature approach to his character augurs well for his future in more complex and difficult roles."
T.L. Ponick
The Washington Times
Count Almaviva, Le nozze di Figaro - Wolf Trap Opera Company