Romeo et Juliette
…and of conductor John Baril, whose pacing offered both dramatic excitement and vocal space. The orchestra may have managed just a tentative-sounding overture, but the players gathered their forces, found some of the sharp-edged atacks and the color that had been missing at the beginning and provided a vivid soundscape for the rest of the evening.
— Joan Reinthaler Washington Post February, 2016
Romeo et Juliette
Against this luscious setting played the crystalline tones of the Virginia Symphony Orchestra, led with a deft baton by Conductor John Baril. Smoothly transitioning from the exuberant staccatos of Act I to the languorous romantic melodies of Acts II and V, the orchestra perfectly prepared the singers for musical excellence. And that, certainly, was achieved.
— Michael Poandl DC Metro Theatre Arts February, 2016
Street Scene
…Best Ensemble of 1999
— Westword Best of Denver December, 1999
Street Scene
Conductor John Baril…kept a tight rein on the fascinating score, and his musicians reveled in the variety of color, rhythm and texture demanded of them.
— Colorado Independent July, 1999
Street Scene
There is a feeling that when the orchestra gets there and the conductor is there that the show is out of [the director’s] control. The tempi don’t change with Baril as conductor…[you] don’t have to worry about a tired conductor that causes the whole thing to slow down.
— Out Front Colorado July, 1999
La traviata
Seldom in this reviewer’s experience has Verdi’s triumvirate of characters received such a balanced embodiment by actors who can act as well as they sing. Harnessing the magic and mystery of Verdi’s composition, esteemed conductor John Baril keeps the voices on stage and the scrumptious Central City Opera Orchestra in the pit in an alignment that’s superbly balanced.
— David Marlowe Marlowe’s Musings July, 2015
Le nozze di Figaro
It may have been Mozartean business as usual onstage, but such was hardly the case in the pit. For the first time in nearly three decades, Opera Colorado did not employ the Colorado Symphony, due largely to a financial crisis that threatened the orchestra last year. Opera Colorado and its board opted to hire a freelance ensemble – a switch that turned out to be hardly noticeable. In his podium debut, John Baril, the company’s chorus director, led a solid, well-prepared orchestra in a spirited, polished performance.
— Marc Shulgold Opera News April, 2012
Le nozze di Figaro
John Baril and the Opera Colorado orchestra deliver an impressive rendition of the complex score.
— Bob Bows coloradodrama.com February, 2012
Le nozze di Figaro
John Baril displays the great clarity and charm of the score. Tempos were lively, but never pushed to uncomfortable speeds, and slower arias were given their full breadth without ever becoming heavy, slow or marmoreal. Clarity between strings and woodwinds was exemplary.
— Susan Hall Berkshire Fine Arts February, 2012
Le nozze di Figaro
Conductor John Baril capably led the orchestra with well-paced transitions that did well to keep the action moving.
— Carol Perry OPERAGASM February, 2012