Germont in La traviata
Portland Opera
"Weston Hurt, playing Alfredo’s father Germont, is the best baritone I’ve heard on this stage in recent memory: pliable vocal line, glittering high notes, and full command of the entire register.”
– Bruce Browne, Oregon ArtsWatch
Seattle Opera (2017)
"Baritone Weston Hurt brought a fine sense of humanity and even sympathy to the part, his initial machismo giving way to the vulnerability of a father who can connect with neither of his children. Hurt’s firm legato suited the music admirably...and his silken pianissimi in the second verse of his aria were a musical highlight."
– Kevin W. Ng, Bachtrack
"Weston Hurt as Alfredo’s father was also deeply affecting, his rich baritone providing some of the most beautiful musical moments."
- Alice Kaderlan, Seattle Post-Intelligencer
“Weston Hurt, with a voice rich in timbre and expressive intensity, is perfect in the role of Giorgio Germont. His character is the pivot around which the human tragedy of Violetta and Alfredo turns, and he is very convincing in his interpretation of the stereotype of bourgeois society with all its inconsistencies. His evidence is secure and convincing, his timbre, a true Verdi baritone, homogenous [throughout the range] and with juicy phrasing.”
- Viviana Coppo, OperaClick (translated from Italian)
“Weston Hunt uses a warm, enveloping voice and his imposing physical bulk to present a classic troubled father. Even the director’s decision to bring Alfredo’s (much) younger sister on stage to reinforce the father’s appeal to the honor of his family (and loss to her marital prospects) seems defensible.”
- Roger Downey, Opera Today
“Much more obviously than in other productions, his father Germont is delineated as a controlling, manipulative parent, charming and generous only after he has got his way, menacing in soft tones before that. Again, this is a fine singer. Seattle Opera general director Aidan Lang has, in the short time he has been here, shown himself a master at choosing voices which fit the roles and satisfy the most discriminating listener.”
- Michael van Baker, The SunBreak
“Weston Hurt and Joshua Dennis sing the Germonts, father and son, with rich beauty of tone and suavity; Hurt, especially, gives “Di Provenza il mar,” in which he tries to persuade Alfredo to forget about Violetta, a pulsing warmth at a relaxed, seductively indulgent tempo.”
- Gavin Borchert, Seattle Weekly
“They were joined by Weston Hurt, with his clear voice, metallic timbre, and gentle warmth in the middle and lower registers. For his part, he proved credible as Germont. His duet with the protagonist [Violetta] was one of the most captivating moments of the evening, with a sublime orchestra in a polished line, as simple as it was inspiring.”
- Carlos Lopez, Opera World (translated from Spanish)
“Baritone Weston Hurt as Alfredo’s bougie dad is just plain awesome.”
- Rebecca Brown, The Stranger
“As Germont, Weston Hurt sang with resonance and warmth, giving a particularly nice account of the beautiful baritone aria “Di provenza.””
- Melinda Bargreen, Seattle Times
“Weston Hurt has that upper-range brightness that is ideal for Verdi baritone roles, and his towering presence gave imposing authority to Giorgio Germont’s provincial platitudes.”
- Theodore Deacon, Opera Magazine
New Orleans Opera
"More than one production of "La Traviata" has turned on the performance of Germont, and here Weston Hurt demonstrated anew that few things in operatic life can be as delicious as an encompassing baritone. Germont is a selfish lout, a papa with scant fatherly grace. He is, simultaneously, a character whose presence tends to make whatever surrounds him superfluous. Hurt did vocal justice to big Germont challenges such as Act Two's "No, non udrai rimproveri" and Act Three's "Di sprezzo degno," which any worthy Germont must carry off. Beyond those, Hurt managed the sizable feat of engendering eventual sympathy for the conspicuously anti-sympathetic character.."
– Andrew Adler, New Orleans Times-Picayune
"Bel canto honors of the evening undoubtedly went to baritone Weston Hurt as an unusually sympathetic Germont père. An artist of noble stature and bearing, Hurt understood not only this complex character but also the true sense of Verdian style that the music requires. “Di Provenza” was the supreme vocal highlight of the performance and earned the artist a well-deserved ovation."
– George Dansker, Opera News
"Weston Hurt was an impressive Germont père, his baritone steady and mellow."
– Jack Belsom, Opera Magazine
Atlanta Opera
"Baritone Weston Hurt sang the role of Giorgio Germont with wonderful proficiency and warmth. He negotiated the upper reaches of "Di Provenza" with utter ease, and his singing complemented Dunleavy's throughout their lengthy duet."
– Stephanie Adrian, Opera News
Boston Lyric Opera
"Weston Hurt gave the strongest performance of the evening as Giorgio Germont, Alfredo’s father. Hurt was obviously given the vocal gift of a gorgeous baritone, which is golden, weighty, and clear. One would assume he also encountered the gift of a remarkable teacher, because his performance was faultless — stylistically on the money, dramatically committed, and displaying a vocalism that was perfectly even from the top to the bottom of his range."
– Kalen Ratzlaff, Opera News
"The most consistently satisfying of the principles was Weston Hurt as Alfredo’s father, Giorgio Germont. He brought an appropriately tender and sympathetic tone to the long second act duet, in which the elder Germont convinces Violetta to sacrifice her love for Alfredo. He also brought a more full-bodied and passionate sound to the elder Germont’s few outburts, and, importantly, knew how to press the conductor forward in those moments, as per the Italianate musical language."
– Angelo Mao, Boston Classical Review
"Weston Hurt as Alfredo’s father, here a war veteran who’s lost his right arm, is less overbearing than usual for this role, and he sings “Di Provenza il mar” so rapturously, it’s a wonder Alfredo doesn’t move back to the family home in Provence."
– Jeffrey Gantz, The Boston Globe
Seattle Opera (2009)
"Weston Hurt's company debut in the role came as balm to ear, eye and mind. His ability to find the humanity underlying this initially convention-bound father made much better sense of the softening that transforms him in the opera's later scenes."
– Bernard Jacobson, The Seattle Times
Ford in Falstaff
Virginia Opera
"Weston Hurt excelled as the semi-villain Ford who ends up looking nearly as foolish as Falstaff in the end, and his diction and phrasing, were both letter perfect. "
–Terry Ponick, Washington Times
Seattle Opera
"Weston Hurt imbued the jealous husband with just the right touch of fury, making Ford's attempts to stifle his green-eyed monster while pulling his own con on Falstaff all the funnier. Even better, Hurt has a baritone as mellifluous as the best tenors."
– Maggie Larrick, Queen Anne & Magnolia News
Rigoletto in Rigoletto
English National Opera
“Weston Hurt, an accomplished if under-recognized American baritone active for many years at Caramoor, NYCO, Bard, and elsewhere, made a deeply impressive showing. It’s not a big bruiser of a voice, but through keen dynamic gradations he traced the long lines beautifully and had plenty of power for climactic notes. His lean but elegant approach reminded me of two favorite Rigolettos, Pablo Elvira at NYCO and Alan Opie at Opera Philadelphia. A detailed, persuasive actor, Hurt offered a complete interpretation, willing to make the man a frustrated, bitter character not asking for much sympathy. …(not to mention) Hurt’s crystalline diction.”
-David Shengold, Classical Voice North America
“The hunchbacked Rigoletto, jester to the Duke of Mantua in the original and Jokester to the Mafia ‘Duke’ in Miller’s version, is played by American baritone Weston Hurt, singing powerfully and switching convincingly between making vicious gibes at the Duke’s foes and showing his own misery and love for his daughter Gilda whom he keeps hidden. Remarkably, Weston Hurt was born with only one hand, which makes his performance as Rigoletto even more convincing. He is on record as saying “So far in my life I have definitely found that ten fingers are overrated,” and the abssence of his right hand even adds conviction to his portrayal of the hunchback.”
-William Hartston, Daily Express
“The US baritone Weston Hurt, also making an ENO debut, was a gritty Rigoletto, bringing warm sympathetic vocal colour to everything he did, along with a natural stage presence that the role requires. His denunciation of the mafia hangers-on was terrific.”
- Martin Kettle, The Guardian
“But it’s the scenes between Gilda and Rigoletto that make this revival truly glow, and sing… For his part, Hurt balanced enormous pathos conveyed in long, carefully sculpted vocal lines with headstrong paternal conceit: as so often in this opera, heartfelt beauty can mask the drive to confine and command.”
-Boyd Tonkin, The Arts Desk
“The rich-toned American baritone Weston Hurt impressed in the title role with his detailed exploration of the biter bitten - a forlorn figure whose vengeful plans backfire with tragic consequences.”
-Markus Valencia, Bachtrack
“It’s always a challenge for singers to create a flawed character with a flawless voice. Finding that half-way point between being a villain and making beautiful music is American baritone Weston Hurt, in the title role. His Rigoletto can be rough, his impersonations of other singers a hoot, but when his heart breaks at the loss of his daughter, there is real pathos too.”
- Claudia Pritchard, Culture Whisper
“A key highlight of this production is the UK and ENO debut of American baritone Weston Hurt as Rigoletto. Renowned for his “golden” voice and magnetic stage presence, Hurt delivers a performance steeped in pathos and nuanced expression, promising a portrayal that blends vocal finesse with deep character insight.”
- Francesca Lombardo, Italy News
PORTopera
"Weston Hurt’s Rigoletto was strongly sung and acted: the American baritone was powerful in his mockery of the Duke’s victims and especially convincing in his obsessive concern for Gilda, culminating in a tenderly sung “Piangi, fanciulla” after she has been seduced by the Duke. "
– Cornelia Iredell, Opera News
"Baritone Weston Hurt played Rigoletto like the complex character he is, a mixture of vicious foolery, resentful boot-licking, paternal love and superstition. It is his faith in the power of a curse that drives the action, and in his attempts to control Gilda, there is a hint of something more sinister than fatherly love."
– Christopher Hyde, Portland Press Herald
Boston Youth Symphony Orchestras
“Weston Hurt’s attractive baritone made for a satisfying and musical jester here, with a fine legato and a strong emotional investment.”
– David Shengold, Opera Magazine
"Portrayed with pathos and nuance by baritone Weston Hurt, Rigoletto stole most of the scenes he was in, and provided a believable father figure for Anya Matanovic’s radiant Gilda. Weston Hurt often sang these passages [Rigoletto's duet with Sparafucile and the extended monologue “Pari samo"] seated, or on his knees, which made his arioso and difficult recitative the most moving and expressive part of the Act. After hearing Gilda’s tragic confession of love for the Duke, Rigoletto responded with a heart-rending cabaletta “Sì, vendetta,” which received the longest and most resounding ovation of the evening."
–Laura Prichard, The Boston Musical Intelligencer
Nabucco in Nabucco
Seattle Opera
"Weston Hurt is famous for his diction and his sympathetic reading of the characters he portrays. His Nabucco’s physical bearing exuded regal authority up to the moment he was thunderstruck and from the moment when his reason was restored to him, and his time of trial was truly poignant."
– William Burnett, Opera Warhorses
"The cast sings uniformly strongly, with Weston Hurt in the title role and Jamie Barton as his daughter Fenena standouts for timbral beauty."
– Gavin Borchert, Seattle Weekly
"Weston Hurt delivered an authoritative, thundering Nabucco."
– Gemma Wilson, City Arts of Seattle
Iago in Otello
Boston Youth Symphony Orchestras
"Act II largely belongs to Iago... Baritone Weston Hurt powerfully seized on his most dramatic solo, making us realize that though Iago has very specific reasons for hating Otello, he is also malignant by nature. Hurt convincingly encompassed, vocally and dramatically, the full gamut of the character’s pronouncements, from the hectoring high points of the credo to the sotto voce insinuations in Otello’s ear. The clever villain easily manipulates Otello, redirecting his wrath, and the two conclude the Act with a mighty joint appeal to the god of vengeance... O’Neill, Hurt, and the orchestra were electrifying."
– Geoffrey Wieting, The Boston Musical Intelligencer