Having appeared at many of North America’s most significant houses, baritone Weston Hurt recently made his critically-acclaimed UK debut as the titular Rigoletto with English National Opera.

This season, he makes his debut with Opéra de Québec as Scarpia in Tosca, returns to The Metropolitan Opera covering Mr. Baron in Missy Mazzoli’s Lincoln in the Bardo, and brings his celebrated portrayal of Germont in La traviata to Charleston Opera Theater.

In the 2025-2026 season, Mr. Hurt returned to two favorite roles: Germont in La traviata with Utah Opera and Opera Colorado, and Sharpless in Madama Butterfly with Fort Worth Opera. On the concert stage, he made debuts with the Reno Philharmonic for Orff’s Carmina Burana, and both the North Carolina Symphony and Rhode Island Phiharmonic for Handel’s Messiah. During the summer, he made his house and role debut singing Horace Tabor in Central City Opera’s 70th anniversary production of The Ballad of Baby Doe.

In addition to Rigoletto at ENO, the 2024-25 season brought the baritone’s house and role debut as Tonio in Pagliacci with Pensacola Opera as well as performances of Germont in La traviata with the Berkshire Opera Festival. Mr. Hurt joined the roster of The Metropolitan Opera in the previous season, covering Alvaro in Catan’s Florencia en el Amazonas. Additionally, he returned to Houston Grand Opera as Sharpless in their Miller Outdoor Theatre performances of Madama Butterfly, and bowed with Madison Opera for their annual Opera in the Park concert.

Notable recent opera engagements have included his role debut as the title character in Nabucco at Seattle Opera, his house and role debut with Houston Grand Opera as Scarpia in Tosca, his debut with New Orleans Opera as Germont in La traviata, his role debut as Iago in Otello with Boston Youth Symphony Orchestra, and a return to Seattle Opera in another role debut as Talbot in Maria Stuarda. He has also appeared as Renato in Un ballo in maschera with Boston Youth Symphony Orchestras, the title role of Rigoletto with New Orleans Opera, PORTopera and the Boston Youth Symphony Orchestras, Scarpia in Tosca with Arizona Opera, Tulsa Opera and Nashville Opera, Germont in La traviata at the Lyric Opera of Kansas City, Seattle Opera, Portland Opera, Boston Lyric Opera, Opera San Antonio, Madison Opera, and Atlanta Opera, Ford in Falstaff at Seattle Opera, Portland Opera, and Virginia Opera; Sharpless in Madama Butterfly at Seattle Opera, New Orleans Opera, Boston Lyric Opera, Lyric Opera of Kansas City, New York City Opera, Atlanta Opera, Berkshire Opera Festival and Opera Grand Rapids.

He has sung Schaunard in La bohème at The Dallas Opera, Peter in Hansel and Gretel at Portland Opera; Enrico in Lucia di Lammermoor at Portland Opera, Arizona Opera and Austin Lyric Opera; the Count in Le nozze di Figaro at Michigan Opera Theater, Frank in Die tote Stadt at The Dallas Opera, the New York City Opera andwith Odyssey Opera; Eisenstein in Die Fledermaus with Amarillo Opera; Baldassare in L’Arlesiana with the Opera Orchestra of New York, Creon in Cherubini’s Medea with Opera Omaha and John Peerybingle in I Grillo del Focolare with Teatro Grattacielo, and a performance of Der ferne Klang with the American Symphony Orchestra in Avery Fisher Hall.

A prolific concert singer and recitalist, Mr. Hurt has performed in recitals sponsored by the prestigious Marilyn Horne Foundation in the United States, and has also performed in concert internationally, including a South American tour of performances of the Brahms Ein deutsches Requiem. Other orchestral engagements have included Opera Roanoke for Britten’s War Requiem and the Boston Youth Symphony Orchestra for Verdi’s Requiem, appearances with the Nashville Symphony, the Dallas Symphony, the Alabama Symphony,and the Oratorio Society of New York in Carnegie Hall.

A graduate of the Juilliard Opera Center, Mr. Hurt has received many notable vocal awards, including 1st place and the People’s Choice Award from The Dallas Opera Guild Vocal Competition, the Vienna Prize from the George London Foundation, and 1st Place in the Oratorio Society of New York Competition, as well as various awards from the Licia Albanese-Puccini Foundation International Competition, Liederkranz Foundation, Metropolitan Opera National Council, Opera Index, and Palm Beach Opera Competition, and two career grants conferred by The Santa Fe Opera.