Lucia di Lammermoor
One owes a debt of gratitude to conductor John Baril for pacing the proceedings with a sensitive baton, which creates a glorious synchronization of the luscious Central City Opera orchestra with the singers onstage.
— Outfront June, 2009
Lucia di Lammermoor
Conductor John Baril makes magic with the CCO pit band, distinguished further by principal flutist Jessica Warren-Acosta as Petrova’s partner in the “Mad Scene.” No matter how you read the Sir Walter Scott’s novel that is the source of Donizetti’s libretto, “Lucia” is heavy stuff, and that encourages some to bring Wagnerian weight to the score. Not so [Baril] who — stressing the marvelous lightness of Petrova’s voice — emphasized the transparency of the score [to] make it downright luminescent.
— Boulder Daily Camera June, 2009
Madama Butterfly
In the pit, John Baril achieved good balance and reasonable flow.
— Opera News October, 2005
Madama Butterfly
The casting is impeccable, and the orchestra, under the direction of John Baril, sounds terrific.
— Westword July, 2005
Madama Butterfly
Conductor John Baril leads a talented Festival Orchestra that delivers a warm, deliciously melodic rendition of Puccini’s score.
— ColoradoDrama.com July, 2005
Madama Butterfly
In the pit, Baril was efficient in leading the orchestra through Puccini’s vivid score; tempos and balances proved mostly ideal.
— Rocky Mountain News June, 2005
Madama Butterfly
Resident Conductor John Baril did his usual capable job in the pit…
— The Denver Post June, 2005
Madama Butterfly
The orchestra, conducted by John Baril, is professional and well-balanced, particularly the strings, whose opening fugue is crisp and vibrant, and whose pizzicato accompaniment of the famous “Humming Chorus” is carefully restrained. The accompaniment to the final suicide scene is brilliant.
— Boulder Daily Camera June, 2005
Magic Flute
The Chorus, superbly prepared by John Baril, provided the most musically moving moments of the evening.
— Boulder Daily Camera November, 2006
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