Schedule Archive

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. Sudeep Agarwala
The Boston Musical Intelligencer
Hurt's ringing baritone in the first act provided a high point James McQuillen
OregonLive.com
The irreproachable Maria Zifchak, a pitch-perfect, sympathetic Gertrude, was entirely complementary to Weston Hurt's Peter, sung in a fervent, virile baritone. Adam Wasserman
Opera News
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
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