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Baritone Weston Hurt’s 2022-2023 season features returns to several signature roles. He joins Lyric Opera of Kansas City as Germont in their covid-postponed La traviata, Arizona Opera as Scarpia in Tosca, and brings his Sharpless in Madama Butterfly to New Orleans Opera. On the concert stage, he performs with Opera Roanoke for Britten’s War Requiem.

Last season, Mr. Hurt joined the Boston Youth Symphony Orchestras in concerts of La traviata, and made his Beethoven’s Ninth Symphony debut with the Alabama Symphony. Mr. Hurt’s engagements from recent seasons have included a virtual performance of Madison Opera’s annual Opera in the Park concert, a recital with Austin Opera as part of the company’s Live from Indy Terrace series, and Count di Luna in Il trovatore with Portland Opera and Madison Opera (cancelled due to COVID-19). On the concert stage, he was to appear in excerpts from Tosca with the Tallahassee Symphony (cancelled due to COVID-19). In the fall of 2020, he joined the University of Missouri-Kansas City (UMKC) Conservatory as Assistant Professor of Voice. Engagements in Mr. Hurt’s COVID-19 shortened 2019-2020 season began with Eisenstein in Die Fledermaus with Amarillo Opera. He then reprised his signature role of Germont in La traviata with Madison Opera. In the spring of 2020, he was scheduled to join Fort Worth Opera for their production of Die Fledermaus in the role of Falke (cancelled).

Notable opera engagements have included his role debut as the title character in Nabucco at Seattle Opera, his debut with New Orleans Opera as Germont in La traviata, his house and role debut with Houston Grand Opera as Scarpia in Tosca, his role debut as Iago in Otello with Boston Youth Symphony Orchestras, 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 Tulsa Opera and Nashville Opera, Germont in La traviata at the Seattle Opera, Portland Opera, Boston Lyric Opera, Opera San Antonio and Atlanta Opera, Ford in Falstaff at the Seattle Opera, Portland Opera, and Virginia Opera; Sharpless in Madama Butterfly at the Seattle Opera, Boston Lyric Opera, Lyric Opera of Kansas City, New York City Opera, Atlanta Opera, Berkshire Opera Festival and Opera Grand Rapids; Schaunard in La bohème at the Dallas Opera, Peter in Hansel and Gretel at the Portland Opera; Enrico in Lucia di Lammermoor at Portland Opera, the 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 and with Odyssey 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.

Also 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. Recent engagements have included appearances with the Nashville Symphony, the Dallas Symphony, and the Oratorio Society of New York in Carnegie Hall. His large repertoire includes such works as the Handel Messiah, Beethoven’s Ninth, the Fauré Requiem, Orff’s Carmina Burana, the Bach Mass in B minor and Magnificat, the Mozart Mass in C minor and Coronation Mass, the Haydn Paukenmesse, and the Britten War Requiem, which he sang at Carnegie Hall.

A graduate of the prestigious 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 2003 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.

Opera Omaha – Medea

"Weston Hurt whose pleasant and consistent baritone voice was perfect for the fatherly role of Creonte.”

- Kevin Hanrahan, Opera News

Tulsa Opera – Tosca

"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

Teatro Grattacielo – Il Grillo del Focolare

"Weston Hurt unfurled an impressive Verdian baritone that made John’s Act 3 jealousy aria a major vocal and dramatic statement.”

- Eli Jacobson, Opera

Seattle Opera – Madama Butterfly

"These qualities of nuance and restraint applied to Weston Hurt’s Sharpless as well. Hurt’s considered way with text and musical line made him a most convincing, agonizingly conflicted consul.”

- Theodore Deacon, Opera

New Orleans Opera – Faust

Weston Hurt as Valentin offered a richly vocalized “Avant de quitter ces lieux” and fully realized the soldier’s true nobility.”

- George Dansker, Opera News

Seattle Opera – La traviata

"Weston Hurt 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 Downer, 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 theGermonts, 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

“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


“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

New Orleans Opera – Faust

"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

Berkshire Opera Festival – Madama Butterfly

"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

Seattle Opera – Maria Stuarda

"Supporting roles were exceptionally well taken by Weston Hurt (an empathetic Talbot) and Michael Todd Simpson…”

- Melinda Bargreen, Seattle Times

“Representing the portion of the English nobility who were deeply troubled by England’s break with universal Catholicism, Hurt’s portrayal of Talbot was sympathetically drawn and well-sung.”

- William Burnett, Opera Warhorses


“Weston Hurt created a wonderfully empathetic Talbot, whose pleas for mercy went by the wayside.”

- James Bash, Northwest Reverb


“American baritone Weston Hurt was an elegant and musical Talbot, featuring a nicely delivered vocal line.”

- Carlos J. Lopez, Opera World


“Baritone Weston Hurt, as Talbot, was, as always, steady and sympathetic.”

- Mark Mandel, Opera News

Boston Youth Symphony Orchestras – Otello

"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

Houston Grand Opera – Tosca

"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

New Orleans Opera – La traviata

"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

Seattle Opera – Nabucco

"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

Boston Lyric Opera – La traviata

"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 outbursts, 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

PORTOpera – Rigoletto

"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

Dallas Opera – Die tote Stadt

"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

Portland Opera – Luci di Lammermoor

"Weston Hurt‘s Enrico was played with cool, calculating cruelty. Enrico’s a weird character, his obsession with revenge and avoiding his own ruin can be paired with a sort of incestuous vibe for Lucia, but Hurt chose instead to show a brother who really never liked his sister much anyway. Hurt was in fine voice, too, carrying his part with aplomb and fierceness. His bulk was magisterial and believable in more ways than one.”

- Lilith Saintcrow, Ragged Feathers

Virginia Opera – Falstaff

"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

Atlanta Opera – La traviata

"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 Youth Symphony Orchestras – Rigoletto

"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 News


“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, Boston Musical Intelligencer

Boston Lyric Opera – Madama Butterfly

"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 – Madama Butterfly

"Fine voices in this production include baritone Weston Hurt, who delivers an impeccable supporting performance as Sharpless.”

- Robert Trussel, 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

Boston Youth Symphony Orchestras – Brahm’s Requiem

"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, Boston Music Intelligencer

Portland Opera – Hansel and Gretel

"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 – Hansel and Gretel

"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

Seattle Opera – Falstaff

"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, Queene Anne & Magnolia News

Seattle Opera – La traviata

“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, Seattle Times

Dallas Opera – La bohème

"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

Atlanta Opera – Madama Butterfly

"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

Arizona Opera – Lucia di Lammermoor

"Weston Hurt was a glowering bully for whom the weak minded Lucia was no match. He sang with vigorous dark tones and energized his lines with conviction.”

- Maria Lockin, Music & Vision


“Director Kristine McIntyre brought out the gothic darkness of Donizetti’s tale by allowing the singers to develop their characters beyond the libretto. It was artistically commendable, with a dignified humanity that invited us to be voyeurs to someone else’s heartbreak, with a superb cast of singers that included the commanding baritone Weston Hurt in the role of Enrico.”

- Cathalena Burch, Arizona Daily Star

Bard Music Festival – Recital

“American baritone Weston Hurt gave a lovingly prepared, deeply moving account of George Butterworth’s Six Songs from a Shropshire Lad, a setting of selections from A. E. Housman’s celebrated collection of poems, in its way as much of an English institution as Land of Hope and Glory. Hurt’s baritone voice, with its leathery depths and tawny highlights, is a superbly balanced instrument, and he presented the cycle with dignity, taking full responsibility for its seriousness, with disciplined phrasing and sensitivity to its changes of mood. Of all the performances I heard at the Elgar Festival, I found this the most affecting.”

- Michael Miller, Berkshire Fine Arts

New York City Opera – Die tote Stadt

“Weston Hurt was rock solid as Frank.”

- Fred Kirshnit, The New York Sun

"It Is Enough"Weston Hurt
00:00 / 05:00
"Eri Tu"Weston Hurt
00:00 / 06:47
"Lagos Credo"Weston Hurt
00:00 / 05:56
"Cortigiani vil razza dannata"Weston Hurt
00:00 / 04:28
NabuccoWeston Hurt
00:00 / 02:16

Weston Hurt