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

Amahl and the Night Visitors

Accompanying these strong soloist performances, Baril’s orchestra, sprawled across the front section of the church pews, sounded wonderful. As the conductor, Baril took full advantage of Menotti’s adept score writing, exploring the different colors and personalities within the music for each character and perfectly timing the comedic musical interchanges with the singers’ lyrics and blocking.   – Izzy Fincher, Sharps and Flatirons, December 2022

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

Carmen

John Baril’s work on the podium suggests that…especially worthy of praise is the careful preparation of this opening production of the 2002 season.
— Boulder Daily Camera July, 2002

Carmen

Conductor John Baril managed a fresh and sweet approach to this oh-so-popular score as his orchestra played fine, the chorus of company singers was stupendous and principals sang well enough.
— Weekly Peak – KCME-FM 88.7 July, 2002

Carmen

[Under John Baril’s direction] the festival orchestra does exemplary work with Bizet’s memorable score…
— ColoradoDrama.com July, 2002

Cavalleria rusticana/I pagliacci

The orchestra played beautifully under the direction of Maestro John Baril, especially the intermezzo in Cavalleria Rusticana.
— Delaware Online December, 2012

Cendrillon

The evening’s Cendrillon was quite delightful under John Baril’s skilled baton…
— Opera News September, 2007

Cendrillon

John Baril leads the festival orchestra in resonant harmony with Jules Massenet’s lovely romantic melodies.
— ColoradoDrama.com August, 2007

Cendrillon

John Baril, the company’s music director, does his usual fine job as conductor.
— Denver Post July, 2007

Cendrillon

Massenet’s score – wow, I never thought the orchestra pit in CC could do it, but this had all the color and diversity one could wish for and John Baril knew what to do with it!
— Glenn Giffin Glenn Giffin July, 2007

Cendrillon

Here’s a word you don’t see often under my byline: perfection. The pacing of this first-rate production never lagged, thanks in large measure to the steady conducting of John Baril, who presided over a shimmering orchestral accompaniment.
— Rocky Mountain News July, 2007

Cendrillon

The total of these many individual assignments is happily balanced by Massenet’s super-sensuous score, and on the podium CCO music director John Baril went straight for the heart of this lush and lavish music.
— Boulder Daily Camera July, 2007

Cosi fan tutte

The cast blended impeccably in those dreamy ensembles. Company music director John Baril kept the pace brisk, providing a sympathetic accompaniment from his fine pit orchestra (recitatives were accompanied on piano).
— Marc Shulgold Opera News October, 2017

Cosi fan tutte

John Baril conducted Mozart’s glorious music with sensitivity.
— Peter Alexander Boulder Weekly July, 2017

Cosi fan tutte

Conductor and CCO music director John Baril leads a robust orchestra in the pit and always accompanies the singers in a way that puts them in their best light.
— Kelly Dean Hansen Boulder Daily Camera July, 2017

Dead Man Walking

Music Director John Baril and Central City’s fine pit orchestra vividly realized Heggie’s sweeping, richly orchestrated score, tinged at times with evocative spirituals and popular music.
— Kyle MacMillan Opera News September, 2014

Dead Man Walking

John Baril conducted with a sure hand, expertly drawing out the colour and constantly shifting dynamics of Heggie’s score.
— Marc Shulgold Opera September, 2014

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
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Amahl and the Night Visitors

Accompanying these strong soloist performances, Baril’s orchestra, sprawled across the front section of the church pews, sounded wonderful. As the conductor, Baril took full advantage of Menotti’s adept score writing, exploring the different colors and personalities within the music for each character and perfectly timing the comedic musical interchanges with the singers’ lyrics and blocking.   – Izzy Fincher, Sharps and Flatirons, December 2022

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

Carmen

John Baril’s work on the podium suggests that…especially worthy of praise is the careful preparation of this opening production of the 2002 season.
— Boulder Daily Camera July, 2002

Carmen

Conductor John Baril managed a fresh and sweet approach to this oh-so-popular score as his orchestra played fine, the chorus of company singers was stupendous and principals sang well enough.
— Weekly Peak – KCME-FM 88.7 July, 2002

Carmen

[Under John Baril’s direction] the festival orchestra does exemplary work with Bizet’s memorable score…
— ColoradoDrama.com July, 2002

Cavalleria rusticana/I pagliacci

The orchestra played beautifully under the direction of Maestro John Baril, especially the intermezzo in Cavalleria Rusticana.
— Delaware Online December, 2012

Cendrillon

The evening’s Cendrillon was quite delightful under John Baril’s skilled baton…
— Opera News September, 2007

Cendrillon

John Baril leads the festival orchestra in resonant harmony with Jules Massenet’s lovely romantic melodies.
— ColoradoDrama.com August, 2007

Cendrillon

John Baril, the company’s music director, does his usual fine job as conductor.
— Denver Post July, 2007

Cendrillon

Massenet’s score – wow, I never thought the orchestra pit in CC could do it, but this had all the color and diversity one could wish for and John Baril knew what to do with it!
— Glenn Giffin Glenn Giffin July, 2007

Cendrillon

Here’s a word you don’t see often under my byline: perfection. The pacing of this first-rate production never lagged, thanks in large measure to the steady conducting of John Baril, who presided over a shimmering orchestral accompaniment.
— Rocky Mountain News July, 2007

Cendrillon

The total of these many individual assignments is happily balanced by Massenet’s super-sensuous score, and on the podium CCO music director John Baril went straight for the heart of this lush and lavish music.
— Boulder Daily Camera July, 2007

Cosi fan tutte

The cast blended impeccably in those dreamy ensembles. Company music director John Baril kept the pace brisk, providing a sympathetic accompaniment from his fine pit orchestra (recitatives were accompanied on piano).
— Marc Shulgold Opera News October, 2017

Cosi fan tutte

John Baril conducted Mozart’s glorious music with sensitivity.
— Peter Alexander Boulder Weekly July, 2017

Cosi fan tutte

Conductor and CCO music director John Baril leads a robust orchestra in the pit and always accompanies the singers in a way that puts them in their best light.
— Kelly Dean Hansen Boulder Daily Camera July, 2017

Dead Man Walking

Music Director John Baril and Central City’s fine pit orchestra vividly realized Heggie’s sweeping, richly orchestrated score, tinged at times with evocative spirituals and popular music.
— Kyle MacMillan Opera News September, 2014

Dead Man Walking

John Baril conducted with a sure hand, expertly drawing out the colour and constantly shifting dynamics of Heggie’s score.
— Marc Shulgold Opera September, 2014

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
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