| Piece | Role/Opera | mp3 |
|---|---|---|
| Count's aria *** | Count Almaviva / Le nozze di Figaro |  |
| Cruda funesta smania / La pietade in suo favore ** | Enrico / Lucia di Lammermoor | |
| Per me giunto * | Rodrigo / Don Carlo | |
| Io Morro * | Rodrigo / Don Carlo | |
| Vy Mne Pisali * | Eugene Onegin / Eugene Onegin | |
| Thus Saith the Lord / But Who May Abide * | Messiah | |
| See the Raging Flames Arise * | Joshua | |
* = Recorded 12/2005
** = Recorded LIVE 10/2007
*** = Recorded LIVE 11/2007
| Role | Opera | Company | Date | |
|---|---|---|---|---|
 |
Weston | headshots | Rex Lott, Photographer | 2006 |
 |
Count | The Marriage of Figaro | Wolf Trap Opera Company | 2006 |
 |
various | Murder and Other Operatic Mayhem | Wolf Trap Opera Company with The National Symphony Orchestra | 2005 |
 |
Emperor of China | Le Rossignol | Juilliard Opera Center | 2004 |
 |
Toante | Oreste | Juilliard Opera Center | 2003 |
 |
Macbeth | Macbeth | Santa Fe Opera Apprentice Scenes | 2002 |
 |
Junius | The Rape of Lucretia | Indiana University Opera Theater | 2000 |
 |
Belcore | L'Elisir D'Amore | Indiana University Opera Theater | 2000 |
Reviews
“ Weston Hurt, a baritone, used his strong voice with admirable restraint in the Offertory and Libera me.”
Steve Smith, New York TimesBaritone 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.comEnrico, 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 StarEnrico, 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 TimesAmonasro, Aida - El Paso Opera
“ Weston Hurt was rock solid as Frank.”
Fred Kirshnit, The New York SunFrank, 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 NewsCount 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 TimesCount Almaviva, Le nozze di Figaro - Wolf Trap Opera Company
“As Ramiro's desguised valet Dandini, baritone Weston Hurt was as notable for his excellent, crisp diction as he was for his deft comic double takes.”
T.L. Ponick, The Washington Times
Dandini, La Cenerentola - Wolf Trap Opera Company
“Baritone Weston Hurt sang the role of the sensible American Counsel with emotional breadth and vocal nuance...his grief was palpable.”
Steven Cornelius, Toledo Blade
Sharpless, Madama Butterfly - Toledo Opera
“Baritone Weston Hurt as Wiedhopf (the Hoopoe) commanded the stage with a rich voice and an excellent dramatic sense.”
William Furtwangler, Charleston Post and Courier
Wiedhopf, Die Voegel - Spoleto USA Festival
“Among the soloists, baritone Weston Hurt was the most refreshing new voice heard in Princeton in a long time. Mr. Hurt held up well under the slow tempi, and sang with understated confidence. In his first solo, "Thus saith the Lord," he was decisive without being overbearing and was consistently dramatic in a subtle manner throughout the performance.”
Nancy Plum, Town Topics
Baritone soloist, Messiah - Westminster Community Chorus
“Weston Hurt's beautiful transparent, stylish singing was consistently pleasurable in the role of Sharpless, the American consul.”
Mike Greenberg, San Antonio Express-News
Sharpless, Madama Butterfly - Lyric Opera of San Antonio
“Weston Hurt was a strong Emperor...”
Allan Kozinn, The New York Times
Emperor of China, Le Rossignol - Juilliard Opera Center
“Weston Hurt, as the king Toante, was a fine evil villain with an appealing streak, not least because of his nice, sandy baritone.”
Anne Midgette, The New York Times
Toante, Oreste - Juilliard Opera Center
“The soloists, a well matched group, were...Weston Hurt, a strong baritone...”
Allan Kozinn, The New York Times
Baritone soloist, War Requiem (Britten) - Juilliard Symphony
“The baritone role in this piece seems at times as if it should be performed by two singers-one with a high falsetto register and another with the low bass sounds required. In the case of the poem Dies, Nox et Omnia, these effects are required in the same vocal number. Baritone Weston Hurt was impressively solid in all of the solos, displaying the operatic fire necessary as well as a very light falsetto when required. His finessed ending to the vicious Estuans interius was a particularly effective rendering of a challenging musical passage.”
Nancy Plum, Town Topics
Baritone soloist, Carmina Burana - Princeton Pro Musica
“One could but praise Weston Hurt and... for (his) vocalism and feigned villainy as Enrico, Lucia's plotting brother..”
Peter Jacobi, The Herald Times
Enrico, Lucia di Lammermoor - Indiana University Opera Theater
“Weston Hurt unleashed a resonant baritone and considerable fervor for his portrayal of Sharpless.”
Peter Jacobi, The Herald Times, Bloomington, Indiana
Sharpless, Madama Butterfly - Indiana University Opera Theater
“Weston Hurt played the self-important Sergeant Belcore, who seeks to strut his way into Adina's heart but ultimately loses out. He did what he did with vocal and theatrical bravado.”
Peter Jacobi, The Herald Times
Belcore, L'Elisir D'Amore - Indiana University Opera Theater
“Weston Hurt, the Count Almaviva, displayed a beautiful high lyric baritone; he was particularly effective in his big third act aria.”
Alwin Tonkonogy, The News and Observer, Raleigh, North Carolina
Count Almaviva,The Marriage of Figaro, The National Opera Company
“One must praise also Harold Wilson as Collatinus and Weston Hurt as Junius.....musically and interpretatively versed in the ways of Britten...”
Peter Jacobi, The Herald-Times, Bloomington, Indiana
Junius, The Rape of Lucretia- Indiana University Opera Theater
“Weston Hurt was simply magnificent as the Father”
The Spectator, Raleigh, North Carolina
Peter, Hansel and Gretel - The National Opera Company