Press

"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, 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

"Weston Hurt was a strong Emperor..." Allan Kozinn
The New York Times
Emperor of China, Le Rossignol - 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

"Weston Hurt was simply magnificent as the Father"
The Spectator, Raleigh, North Carolina
Peter, Hansel and Gretel - The National Opera Company