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

Romeo et Juliette

Music director John Baril’s orchestra is in its usual impeccable form for the duration of the lengthy 1867 score.
— Kelly Dean Hansen, Denver Hub Denver Post, August 2023

Romeo et Juliette

Under the baton of Maestro John Baril, the scrumptious Central City Opera orchestra delivers Gounod’s melodious score to perfection. Baril’s music direction keeps the musicians in the pit and the singers on stage always in sync.
— Marlowe’s Musings, July, 2023

Romeo et Juliette

Conductor John Baril and a superb pit ensemble embraced every one of Gounod’s lovely melodies and sumptuous orchestrations, never overwhelming the singers, while remaining in sync with them throughout, particularly in the touching final, stripped-down scene.
— Marc Shulgold, Opera News, July, 2023

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

Street Scene

Conductor John Baril obviously has taken into account Weill’s classical and pop sides, give space to the former and pizzazz to the latter. If you see only one production in Central this summer, this is the one!
— Denver Post July, 1999

Street Scene

Kudos also to John Baril and solid pit orchestra, …giving the jazzy-bluesy Broadway sound of Weill an energetic interpretation.
— Rocky Mountain News July, 1999

Street Scene

It takes a stage director with the mind and heart of Michael Ehrman and a conductor with the intelligence and insight of John Baril to bring this off.
— Daily Camera July, 1999

Susannah

…the orchestra performs valiantly under the baton of John Baril.
— Pittsburgh Post-Gazette March, 1998

The Ballad of Baby Doe

Opera Theater of Pittsburgh’s production of The Ballad of Baby Doe, directed by Michael Ehrman and conducted by John Baril is one of [Pittsburgh’s] ten best classical music performances of 1998.
— Pittsburgh Post-Gazette December, 1998

The Ballad of Baby Doe

Conductor John Baril’s secure, energetic baton work had precision and rhythmic drive.
— Opera News August, 1997

The Pearl Fishers

The Toledo Symphony, lead by John Baril in his conducting debut with the Toledo Opera, played with mesmerizing sensitivity, creating a perfectly-balanced soundscape of aural beauty. Special mention should be made of harpist Nancy Lendrim’s solo work gracefully underpinning a number of arias.
— Wayne F. Anthony The Toledo Blade October, 2017

The Scarlet Letter

This chorus, which serves, as both the opera’s antagonist and its soul, is magnificent, and its preparation is the swan song for John Baril, Opera Colorado’s longtime chorus master. Baril, whose contribution has always been one of the steadiest, most reliable, and excellent aspects of company productions, has resigned the position to pursue other opportunities.
— Kelly Dean Hansen Boulder Daily Camera May, 2016

Three Decembers

John Baril and the festival orchestra are equally at home with Heggie’s melodies, patter, and atmospherics.
— ColoradoDrama.com July, 2010

Three Decembers

Conductor John Baril, who shows a solid feel for Heggie’s musical aesthetic, provided able leadership in the pit.
— Denver Post July, 2010

Tosca

Central City Opera music director John Baril provided able support in the pit and brought out the many beauties of this score.
— Kyle MacMillan Opera News September, 2016

Tosca

Reflecting the modern setting, CCO Music Director John Baril took a brisk approach to the score without detracting from Puccini’s long, lyrical lines.
— Sabine Kortals The Denver Post August, 2016

Tosca

Finally I will mention that the orchestra was great and the conductor John Baril excellent. His pacing and his ability to maintain coordination with the stage was almost uncanny.
— S. Blake Duncan blakesoperablog August, 2016

Tosca

Noticeably effective is musical conductor John Baril’s ability to sync the music with the singers. There is not a moment of discord in the entire opera.
— Claudia Carbone BlastingNewsTV July, 2016
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Romeo et Juliette

Music director John Baril’s orchestra is in its usual impeccable form for the duration of the lengthy 1867 score.
— Kelly Dean Hansen, Denver Hub Denver Post, August 2023

Romeo et Juliette

Under the baton of Maestro John Baril, the scrumptious Central City Opera orchestra delivers Gounod’s melodious score to perfection. Baril’s music direction keeps the musicians in the pit and the singers on stage always in sync.
— Marlowe’s Musings, July, 2023

Romeo et Juliette

Conductor John Baril and a superb pit ensemble embraced every one of Gounod’s lovely melodies and sumptuous orchestrations, never overwhelming the singers, while remaining in sync with them throughout, particularly in the touching final, stripped-down scene.
— Marc Shulgold, Opera News, July, 2023

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

Street Scene

Conductor John Baril obviously has taken into account Weill’s classical and pop sides, give space to the former and pizzazz to the latter. If you see only one production in Central this summer, this is the one!
— Denver Post July, 1999

Street Scene

Kudos also to John Baril and solid pit orchestra, …giving the jazzy-bluesy Broadway sound of Weill an energetic interpretation.
— Rocky Mountain News July, 1999

Street Scene

It takes a stage director with the mind and heart of Michael Ehrman and a conductor with the intelligence and insight of John Baril to bring this off.
— Daily Camera July, 1999

Susannah

…the orchestra performs valiantly under the baton of John Baril.
— Pittsburgh Post-Gazette March, 1998

The Ballad of Baby Doe

Opera Theater of Pittsburgh’s production of The Ballad of Baby Doe, directed by Michael Ehrman and conducted by John Baril is one of [Pittsburgh’s] ten best classical music performances of 1998.
— Pittsburgh Post-Gazette December, 1998

The Ballad of Baby Doe

Conductor John Baril’s secure, energetic baton work had precision and rhythmic drive.
— Opera News August, 1997

The Pearl Fishers

The Toledo Symphony, lead by John Baril in his conducting debut with the Toledo Opera, played with mesmerizing sensitivity, creating a perfectly-balanced soundscape of aural beauty. Special mention should be made of harpist Nancy Lendrim’s solo work gracefully underpinning a number of arias.
— Wayne F. Anthony The Toledo Blade October, 2017

The Scarlet Letter

This chorus, which serves, as both the opera’s antagonist and its soul, is magnificent, and its preparation is the swan song for John Baril, Opera Colorado’s longtime chorus master. Baril, whose contribution has always been one of the steadiest, most reliable, and excellent aspects of company productions, has resigned the position to pursue other opportunities.
— Kelly Dean Hansen Boulder Daily Camera May, 2016

Three Decembers

John Baril and the festival orchestra are equally at home with Heggie’s melodies, patter, and atmospherics.
— ColoradoDrama.com July, 2010

Three Decembers

Conductor John Baril, who shows a solid feel for Heggie’s musical aesthetic, provided able leadership in the pit.
— Denver Post July, 2010

Tosca

Central City Opera music director John Baril provided able support in the pit and brought out the many beauties of this score.
— Kyle MacMillan Opera News September, 2016

Tosca

Reflecting the modern setting, CCO Music Director John Baril took a brisk approach to the score without detracting from Puccini’s long, lyrical lines.
— Sabine Kortals The Denver Post August, 2016

Tosca

Finally I will mention that the orchestra was great and the conductor John Baril excellent. His pacing and his ability to maintain coordination with the stage was almost uncanny.
— S. Blake Duncan blakesoperablog August, 2016

Tosca

Noticeably effective is musical conductor John Baril’s ability to sync the music with the singers. There is not a moment of discord in the entire opera.
— Claudia Carbone BlastingNewsTV July, 2016
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