Weston Hurt excelled as the semi-villain Ford who ends up looking nearly as foolish as Falstaff in the end, and his diction and phrasing, were both letter perfect.
Baritone Weston Hurt, as Ford, was a worthy adversary. His effortless sound could be strong, and his emotional range showed in his one big solo scene.
Baritone Weston Hurt deserves special mention for playing the key role of Ford so powerfully that you could overlook that he was in a wheelchair the whole time, thanks to bad injuries to both legs sustained during rehearsal.
Baritone Weston Hurt, last heard in Jun Kaneko’s controversial “Madama Butterfly” in 2008, sang the role of Giorgio Germont with wonderful proficiency and warmth. He negotiated the upper reaches of “Di Provenza” with utter ease, and his singing complemented Dunleavy’s throughout their lengthy, four-movement duet at Violetta’s country home in Act II.
Baritone Weston Hurt was marvelous as Sharpless, the sympathetic American Consul. His sound was beautifully clear and focused, with golden tints, and his approach to text was almost casually conversational, making what is actually a rare skill look easy. One hopes this will be the first appearance of many with the company for this gifted singer.
Among many BLO debuts, there was much good singing. As Sharpless, the American consul and the opera's consience, Weston Hurt was equally outstanding, combining restrained acting, beautiful Italian, and a fluid easy baritone.
Soprano Ana María Martínez and baritone Weston Hurt, who joined the ensembles, are significant forces to contend with, particularly in the substantial parts in the Requiem. ...her voice paired nicely with Hurt’s lyrical baritone that, although rich and resonant (truly a joy to hear), maintained a much-needed precision and direction, the absence of which too-often obfuscates Brahms’s dramatic solo line.
The Boston Musical Intelligencer
Hurt's ringing baritone in the first act provided a high point
The irreproachable Maria Zifchak, a pitch-perfect, sympathetic Gertrude, was entirely complementary to Weston Hurt's Peter, sung in a fervent, virile baritone.
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.
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.
Classical Voice of New England
...and has a strong Svengalian partner-in-connivance in American baritone Weston Hurt’s stately and sinister Lord Cecil.
The Globe and Mail
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.
Queen Anne & Magnolia News
(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.
The Seattle Times
As Sharpless, Weston Hurt distinguished himself as a self-possessed singer, never pressing the voice or sacrificing vocal beauty for the sake of volume.
Weston Hurt was rock solid as Frank.
The New York Sun
Weston Hurt was simply magnificent as the Father
The Spectator, Raleigh, North Carolina