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.
Music Director John Baril has seen his share of milestones in the pit at Central City Opera, but this summer’s Il trovatore represents a new height for him and the company. Giuseppe Verdi’s popular but often critically maligned score was given its best possible advocacy by Baril and stage director Joachim Schamberger in the jewel box theater. The choruses of gypsies and soldiers are splendid, as is Baril’s orchestra. Verdi’s accompaniments range from the banal to the sublime, and these musicians had a keen understanding of when to come forward and when to let the singers take the lead.
While Leonora is not the central character, the role is incredibly demanding, so much so that her last major solo in Act IV is often cut. Loutsion did sing one verse of it. This was just one example of Baril’s respect for Verdi’s score, which was evident throughout.
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).
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.
John Baril conducted Mozart’s glorious music with sensitivity.
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.
Musically, John Baril managed the music and the singing and the often-wild stage happenings with a solid baton, the members of the Virginia Symphony responding energetically and providing Rossini's score appropriate vibrancy and vitality.
Virginia Opera’s new production of Gioachino Rossini’s “The Barber of Seville,” which opened Friday at the Harrison Opera House, has it all: truly gorgeous singing, John Baril’s crisp conducting, Michael Shell’s inventive direction and, not least, laughs galore. The orchestra of Virginia Symphony Orchestra players, under Baril’s baton, bring out all of Rossini’s verve, vitality and speed.
Central City Opera music director John Baril provided able support in the pit and brought out the many beauties of this score.
Reflecting the modern setting, CCO Music Director John Baril took a brisk approach to the score without detracting from Puccini's long, lyrical lines.