Sharpless in Madama Butterfly
Berkshire Opera Festival
"There was something about Weston Hurt’s performance that made one miss him when he left the stage – a deep humanity conveyed by his magnificent voice, rich and dark below, lyrical with tawny highlights in the upper middle and upper ranges, and his totally committed acting. Hurt’s perceptive and elegant phrasing, his thoughtful interpretation of the text, and perfect diction made me want to hear him sing Lieder – the greatest Lieder."
– Michael Miller, The Berkshire Review
“Weston Hurt, always a dignified and classy vocalist, lent sympathy and baritonal suavity as Sharpless.”
- David Shengold, Opera News
Boston Lyric Opera
"But perhaps the finest singing of the night came from baritone Weston Hurt, who opted for subdued dramatic restraint as Sharpless, Pinkerton's hapless American friend, but whose confidently powerful vocal lines easily cut through even the richest of Puccini's textures."
– Thomas Garvey, The Hub Review
"Among many BLO debuts, there was much good singing. As Sharpless, the American consul and the opera's consience, Weston Hurt was equally outstanding, combining restrained acting, beautiful Italian, and a fluid easy baritone. "
– Matthew Guerreri, Boston Globe
"Weston Hurt’s Sharpless perfectly embodied the consul’s kind, cautious, but ultimately ineffectual character."
– Angelo Mao, Boston Classical Review
"Baritone Weston Hurt was marvelous as Sharpless, the sympathetic American Consul. His sound was beautifully clear and focused, with golden tints, and his approach to text was almost casually conversational, making what is actually a rare skill look easy. One hopes this will be the first appearance of many with the company for this gifted singer."
– Kalen Ratzlaf, Opera News
Lyric Opera of Kansas City
"Fine voices in this production include baritone Weston Hurt, who delivers an impeccable supporting performance as Sharpless."
– Robert Trussell, Kansas City Star
"Weston Hurt’s Sharpless was the moral compass of this story, and his expressive face and exceptional baritone convincingly transferred the character’s conflicting emotions."
– Sarah Tyrrell, KC Metropolis
Atlanta Opera
"As Sharpless, Weston Hurt distinguished himself as a self-possessed singer, never pressing the voice or sacrificing vocal beauty for the sake of volume."
– Stephanie Adrian, Opera News
Scarpia in Tosca
Nashville Opera
"[As] Scarpia, Weston Hurt brought humanity to the role. His lush and agile voice helped us feel for Scarpia, in spite of how frankly demented he is – it felt a bit like liking Don Draper – but it is an opera full of contradictions."
- Tracy Monaghan, Schmopera
Tulsa Opera
"As the villainous Scarpia, Weston Hurt took a character that can be almost cartoonish in its nastiness and brought a certain suavity to it; Hurt’s Scarpia is closer to a Hitchcockian villain, whose evil impulses are well-hidden behind a veneer of respectability. He commands the stage so well that even his sotto voce asides to his henchmen resonate with menace."
- James D Watts Jr., Tulsa World
Houston Grand Opera
"Baritone Weston Hurt, as Baron Scarpia, made the most of his rich, sonorous baritone. His characterization was unusual and intriguing: at times, he turned the opera’s villain inward, making him a man of introspection, not just a man of action.."
– Colin Eatock, Eatock Daily
Schaunard in La bohème
Dallas Opera
"Weston Hurt as Schaunard commanded the first scene with a clear, sizeable baritone and clever comedic timing — more substantial, legato filled roles will suit his Italianate sound."
– Paul Wooley, ConcertoNet