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.
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.
John Baril conducted a bracing and convincing Schicchi; Baril’s musicians gave Weill’s score good value.
John Baril and the festival orchestra are equally at home with Heggie's melodies, patter, and atmospherics.
Conductor John Baril, who shows a solid feel for Heggie's musical aesthetic, provided able leadership in the pit.
Conductor John Baril brings out the contrasting sounds of the Puccini score - although the orchestra did not have as many stands as Puccini would have demanded, they produce a great sound.
John Baril presided very capably, admirably allowing many numbers their full repeats and endings.
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.
…an ensemble as powerful as Donizetti's score, which is impressively delivered by John Baril and the festival orchestra.
An orchestra can get lost amid such pyrotechnics. This one, lead by John Baril, navigates the sometimes demanding score well, not only standing up to the massive vocal talent on the stage, but supporting it with equal skill, revealing the fascinating dark underpinnings of a composition that often contradicts the text.