Press
“Finally, a fitting tribute to conductor John Baril is in order. The CCO Music Director marks his 30 years with the company. In those years, he has always led a highly professional and polished pit orchestra, shown extreme sensitivity to his singers, and served as the musical glue that binds every production he leads. It is to Baril’s credit that the overture made the impact it did even with the pantomime. He engaged with the audience while leading the Radetzky March, in the set change between Act II and the shorter Act III. As usual, his awesome orchestral players, guided by his assured hand, supported the singers, particularly in the often-difficult transitions between dialogue and singing. Baril is a treasure, the heart of CCO, and his three decades are justly highlighted by the company in this season’s return to its venue and its roots, showcased in this joyous production of Die Fledermaus.”
– Kelly Dean Hansen, Ph.D., Weekly Call Register, July 2022
La traviata
CCO Music Director John Baril, always superb in the pit, again leads a polished, professional orchestra through a sensitive reading of the score. Baril knows what the singers need and consistently provides it.
— Kelly Dean Hansen Boulder Daily Camera July, 2015
— Kelly Dean Hansen Boulder Daily Camera July, 2015
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
— 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
— 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
— 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
— 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
— Carol Perry OPERAGASM February, 2012
Le nozze di Figaro
The final part that matters in this work is played by the musicians and they performed it well under John Baril. But here too, balance ruled the evening. Voices and instruments connected as the performance continued. The chemistry was solid and extended throughout the hall, even into the audience.
— Denver Post February, 2012
— Denver Post February, 2012
Le nozze di Figaro
John Baril, OC chorus master, took the baton as conductor for the first time, and led the long score with great confidence. The new OC orchestra was precise, crisp and nimble, and the thrilling trumpets at the end of “Non piu andrai” were extremely memorable.
— Kelly Dean Hansen Boulder Daily Camera February, 2012
— Kelly Dean Hansen Boulder Daily Camera February, 2012
Les contes d’Hoffmann
The solo chairs (notably violin, cello and winds) play expertly, while concerted violin passages sometimes slipped in intonation
but standards are high under musical administrator John Baril, who also led a taut but romantic Hoffmann.
— Opera News October, 2004
— Opera News October, 2004
Les contes d’Hoffmann
Offenbach’s delightful score, with a surprising number of familiar melodies, is warmly presented by the Festival Orchestra, led by John Baril.
— ColoradoDrama.com June, 2004
— ColoradoDrama.com June, 2004
Les contes d’Hoffmann
Offenbach manages to transcend the world of operetta in this substantial score, which is effectively brought to life by conductor John Baril and the company’s fine pit orchestra.
— Denver Post June, 2004
— Denver Post June, 2004
Les contes d’Hoffmann
John Baril led a solid pit orchestra in a neatly paced accompaniment.
— Rocky Mountain News June, 2004
— Rocky Mountain News June, 2004
Little Women
Little Women (under John Baril) was that rare thing among modern operas – memorable.
— BBC Music Magazine November, 2001
— BBC Music Magazine November, 2001
Little Women
John Baril conducted with élan. He was willing to luxuriate in a lovely passage, giving it room to bloom…
— Santa Fe New Mexican August, 2001
— Santa Fe New Mexican August, 2001
Little Women
…the impressions that linger longest are of the many robust performances, the precise orchestral playing (CCO’s music administrator John Baril conducts)…
— Westword July, 2001
— Westword July, 2001
Little Women
John Baril, as conductor and chorus master, did an excellent job with some very tricky music. The shifts in style the musical complexity of the ensemble singing, all come out quite effectively.
— Weekly Register Call July, 2001
— Weekly Register Call July, 2001
Little Women
The score was capably performed by the pit orchestra under the direction of John Baril
no doubt he deserves his share of the credit for superior quality of the singing heard throughout this production.
— Denver Post July, 2001
— Denver Post July, 2001
Little Women
Conductor John Baril holds everything in the production together with a master’s hand.
— Boulder Daily Camera July, 2001
— Boulder Daily Camera July, 2001
Little Women
In the pit, John Baril conducts Adamo’s busy score with a sure hand and keen sense of balance.
— Rocky Mountain News July, 2001
— Rocky Mountain News July, 2001
Lucia di Lammermoor
Conductor John Baril, Central City Opera’s Music Director, seamlessly integrated the cast and orchestra. The singing and acting consistently revealed the work’s depths.
— Opera Now October, 2009
— Opera Now October, 2009
La traviata
CCO Music Director John Baril, always superb in the pit, again leads a polished, professional orchestra through a sensitive reading of the score. Baril knows what the singers need and consistently provides it.
— Kelly Dean Hansen Boulder Daily Camera July, 2015
— Kelly Dean Hansen Boulder Daily Camera July, 2015
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
— 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
— 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
— 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
— 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
— Carol Perry OPERAGASM February, 2012
Le nozze di Figaro
The final part that matters in this work is played by the musicians and they performed it well under John Baril. But here too, balance ruled the evening. Voices and instruments connected as the performance continued. The chemistry was solid and extended throughout the hall, even into the audience.
— Denver Post February, 2012
— Denver Post February, 2012
Le nozze di Figaro
John Baril, OC chorus master, took the baton as conductor for the first time, and led the long score with great confidence. The new OC orchestra was precise, crisp and nimble, and the thrilling trumpets at the end of “Non piu andrai” were extremely memorable.
— Kelly Dean Hansen Boulder Daily Camera February, 2012
— Kelly Dean Hansen Boulder Daily Camera February, 2012
Les contes d’Hoffmann
The solo chairs (notably violin, cello and winds) play expertly, while concerted violin passages sometimes slipped in intonation
but standards are high under musical administrator John Baril, who also led a taut but romantic Hoffmann.
— Opera News October, 2004
— Opera News October, 2004
Les contes d’Hoffmann
Offenbach’s delightful score, with a surprising number of familiar melodies, is warmly presented by the Festival Orchestra, led by John Baril.
— ColoradoDrama.com June, 2004
— ColoradoDrama.com June, 2004
Les contes d’Hoffmann
Offenbach manages to transcend the world of operetta in this substantial score, which is effectively brought to life by conductor John Baril and the company’s fine pit orchestra.
— Denver Post June, 2004
— Denver Post June, 2004
Les contes d’Hoffmann
John Baril led a solid pit orchestra in a neatly paced accompaniment.
— Rocky Mountain News June, 2004
— Rocky Mountain News June, 2004
Little Women
Little Women (under John Baril) was that rare thing among modern operas – memorable.
— BBC Music Magazine November, 2001
— BBC Music Magazine November, 2001
Little Women
John Baril conducted with élan. He was willing to luxuriate in a lovely passage, giving it room to bloom…
— Santa Fe New Mexican August, 2001
— Santa Fe New Mexican August, 2001
Little Women
…the impressions that linger longest are of the many robust performances, the precise orchestral playing (CCO’s music administrator John Baril conducts)…
— Westword July, 2001
— Westword July, 2001
Little Women
John Baril, as conductor and chorus master, did an excellent job with some very tricky music. The shifts in style the musical complexity of the ensemble singing, all come out quite effectively.
— Weekly Register Call July, 2001
— Weekly Register Call July, 2001
Little Women
The score was capably performed by the pit orchestra under the direction of John Baril
no doubt he deserves his share of the credit for superior quality of the singing heard throughout this production.
— Denver Post July, 2001
— Denver Post July, 2001
Little Women
Conductor John Baril holds everything in the production together with a master’s hand.
— Boulder Daily Camera July, 2001
— Boulder Daily Camera July, 2001
Little Women
In the pit, John Baril conducts Adamo’s busy score with a sure hand and keen sense of balance.
— Rocky Mountain News July, 2001
— Rocky Mountain News July, 2001
Lucia di Lammermoor
Conductor John Baril, Central City Opera’s Music Director, seamlessly integrated the cast and orchestra. The singing and acting consistently revealed the work’s depths.
— Opera Now October, 2009
— Opera Now October, 2009