I pagliacci / Goyescas
John Baril’s commedia troupe sang, acted, posed and moved with conviction…Baril and his outstanding orchestra brought a wonderfully rich tone to the two operas, particularly the rarely heard Granados. The first interlude is a lovely Spanish divertimento…
— Rocky Mountain News July, 2003
I pagliacci / Goyescas
And conductor John Baril extracts from the pit a sound as voluptuous as might be heard in Bayreuth.
— Boulder Daily Camera July, 2003
Il barbiere di Siviglia
Musically, John Baril managed the music and the singing and the often-wild stage happenings with a solid baton, the members of the Virginia Symphony responding energetically and providing Rossini’s score appropriate vibrancy and vitality.
— M. Shulson Virginia Gazette November, 2016
Il barbiere di Siviglia
Virginia Opera’s new production of Gioachino Rossini’s “The Barber of Seville,” which opened Friday at the Harrison Opera House, has it all: truly gorgeous singing, John Baril’s crisp conducting, Michael Shell’s inventive direction and, not least, laughs galore. The orchestra of Virginia Symphony Orchestra players, under Baril’s baton, bring out all of Rossini’s verve, vitality and speed.
— M D Ridge The Virginian-Pilot November, 2016
Il barbiere di Siviglia
[Marc] Astafan worked with his obviously willing cast to infuse its famous characters with a real sense of zing. Together with conductor John Baril, they created a production that was zany and fun.
— Kyle MacMillan Opera News October, 2013
Dead Man Walking
Heggie’s score speaks volumes on its own, employing strains of Gershwin-reminiscent jazz and blues, or angular lines punctuating speech-like declamation. It was all expertly delivered with effective momentum under the baton of John Baril. Each act culminated in a multi-layered wall of sound (made more palpable in the intimate Central City Opera House) which was enough to rock every cell of my being.
— Carol Perry OPERAGASM July, 2014
Dead Man Walking
Much of the musical interest is in the orchestra, which moves along underlining dramatic sections and offering snatches of jazz rhythm and perhaps zydeco, which itself is an integration of blues, jazz, waltz and other forms. John Baril conducted an obviouly committed orchestra with an intensity that drove the story on.
— Charles Jernigan Jernigan’s Opera Journal/Opera Pronto July, 2014
Dead Man Walking
No one was able to sit comfortably back in their seat, avoiding the searing energy of this opening night performance. It started with the John Baril-lead orchestra. Heggie composed an ever-present instrumental fabric, kind of a sonic canvas, to place his drama upon. He used traditional and modern harmonic language to match the drama as it unfolded – all accomplished without any sense of contrivance. The orchestra accepted its role with attentiveness and intensity.
— David Sckolnik Colorado Springs Gazette July, 2014
Billy Budd
In the filled-to-the-brim pit, John Baril impressively navigated his superb orchestra through Britten’s colorful score, allowing his players to shine brightly in those extended interludes.
— Marc Shulgold Opera News November, 2019
Carmen
(Under) John Baril the playing was characteristically polished…this brought out the orchestra’s strongest qualities, the ability to adapt to [Jane] Gilbert’s every rhythmic fluctuation…
— Denver Post July, 2002