moore
Horace Tabor in The Ballad of Baby Doe
Central City Opera
“As Horace Tabor, baritone Weston Hurt reflects powerfully on his life in his memorable aria “Warm Is the Autumn Light.” Hurt uses his rich baritone to convincingly convey nostalgia for his previous life in Vermont and his newfound love for Baby Doe.” - Alice Kaderlan, Onstage Colorado
“Here, Weston Hurt’s robust bass-baritone commands the stage with the booming confidence of a silver king, yet his Act II monologue reveals his vulnerability as the gold standard destroys his silver empire. The glorious music makes us forget for long stretches of time that Horace is a stupid, stubborn man who treats his first wife like dirt, throws his money around recklessly, and refuses to face reality as he drags his second family down with him to penury and ignominy. He is, after all, Our Pioneering American Hero, and the opera treats him kindly, even though it stops short of glorifying him.” - Ronnie Banerjee, Parterre Box
“Weston Hurt fills the opera house with his powerful baritone and blesses us with his dynamic acting in the role of Horace Tabor. In this reviewer’s interesting opinion, Mr. Hurt is the most memorable vocalist to have sung this role! This magnificent opera singer recently played Germont in Utah Opera’s “La Traviata,” and the title role in English National Opera’s “Rigoletto.” - David Marlowe, Marlowe’s Musings
“Weston Hurt rendered a powerful, full-voiced Horace Tabor.” - Rob Natelson, Complete Colorado
Cherubini
Creonte in Medea
Opera Omaha
"Weston Hurt portrayed Creonte with a sorrowful warmth, in another Opera Omaha debut."
- Drew Neneman, Omaha World-Herald
Zandonai
John Peerybingle in Il grillo del focolare
Teatro Grattacielo
"Weston Hurt unfurled a ringing, fine-grained baritone enhanced by great elegance of phrasing, fluid Italian diction, and a strong stage presence. It comes as no surprise that he sings many of the major Verdi baritone roles."
- Eric Myers, Opera News
"Weston Hurt [is] a true Verdi baritone with sweeping power and emotional range..."
- John Yolahem, Parterre Box
"Weston Hurt unfurled an impressive Verdian baritone that made John’s Act 3 jealousy aria a major vocal and dramatic statement."
- Eli Jacobson, Opera Magazine
"Weston Hurt, singing John Peerybingle in a warm, hardy baritone, was the husband Monaghan’s Dot joined in a pair of romantic duets in Act One. They more than once brought Giuseppe Verdi’s Fords, fond allies who also feud, in “Falstaff,” to mind. Hurt gave impressive voice to tour-de-force “Una prova! … Una prova!” (“Proof! Proof!”), combining murderous jealousy, anger, and self-pity."
- Bruce-Michael Gelbert, QOnStage
Gounod
Valentin in Faust
New Orleans Opera
“Baritone Weston Hurt, as Valentin, Marguerite’s overprotective brother, was as convincing in his role as his other onstage counterparts. Sacrificing his life to defend her honor, he tugged at the audience’s heartstrings, even when he was dying and cursing Marguerite for the sin she committed during his absence on the battlefront.”
- Dean M. Shapiro, New Orleans Advocate
Korngold
Frank in Die tote Stadt
Dallas Opera
"As the voices of sanity, Katharine Tier and especially Weston Hurt (Frank) sang with depth and subtlety. Frank, the steady guide, warns Paul that he has been wasting his time on dreams and phantoms ("Du bist ein Träumer, / bist ein Geisterseher…. Du schwärmst für ein Phantom"). Hurt's resonant baritone here conveyed sadness and helpfulness."
– Willard Spiegelman, Opera News
"When baritone Weston Hurt is onstage as Paul’s friend, his rich, resonant voice undergirds the mystery of the piece."
– Arnold Wayne Jones, Dallas Voice
"There are two secondary characters that also require great vocal heft and solid techniques. Weston Hurt is marvelous as Paul’s best friend, Frank. He is more of a Verdi baritone than a Wagnerian singer, but this performance certainly speaks well for his continued presence in this repertoire. He is effective in portraying Paul’s “only foot in reality” as well as the evil traitor (he seduces Marietta) that he becomes in Paul’s feverish dream. "
– Gregory Sullivan Isaacs, Theater Jones
"Baritone Weston Hurt and mezzo-soprano Katharine Tier likewise turned in impressive performances in the secondary but also forbiddingly difficult roles of Frank and Brigitta, respectively. The complexity of the orchestra part and the huge vocal challenges of the piece are probably the main reasons that Die tote Stadt has been neglected in America, making this Dallas production all the more significant."
– Wayne Lee Gay, D Magazine
"The rest of the ensemble was equally strong. The difficult role of Frank is played by Weston Hurt. He’s the caring friend who also falls for Marietta’s charms and therefore became Paul’s rival. Hurt expresses this conflict so realistically the audience easily sympathizes with him. He uses his beautiful baritone instrument to its full extent, and his singing quality not only services the score but illuminates his emotional state. He is enthralling."
– Mark-Brian Sonna, The Column
New York City Opera
"Weston Hurt was rock solid as Frank."
– Fred Kirshnit, The New York Sun
Humperdinck
Peter in Hansel and Gretel
Portland Opera
"Soprano Elizabeth Byrne sang the Mother with Wagnerian power and Straussian intensity. Baritone Weston Hurt, as the Father, matched her force and had the cast's clearest diction in David Pountney's English version."
– Mark Mandel, Opera News
PORTopera
"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
"Weston Hurt's Peter was sung in a fervent, virile baritone."
– Adam Wasserman, Opera News