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.
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.
Baril, the CCO music director, typically conducts each season's "standard" opera, and his artistry cannot be underestimated. His sensitive and intelligent musicianship, and that of his orchestra, are absolutely vital here. Puccini's habit of doubling vocal lines where singers routinely stretch out the rhythm is just one challenging aspect of the score which Baril has totally mastered.
John Baril conducted a stylistically accurate, theatrically vivid account of this thrice-familiar score. The orchestra responded with real fire and commitment. The divisi 'celli were especially vibrant and pulsing with emotion. The clarinet solo work was impeccably haunting. Whether playing soli or tutti, Maestro Baril inspired these fine players to thrilling results. He did on occasion allow soloists to indulge in some held high notes that were long enough to give Corelli pause, but that is a minor consideration. His reading had veristic sweep as well as minute detail.
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. - The Scarlet Letter
Against this luscious setting played the crystalline tones of the Virginia Symphony Orchestra, led with a deft baton by Conductor John Baril. Smoothly transitioning from the exuberant staccatos of Act I to the languorous romantic melodies of Acts II and V, the orchestra perfectly prepared the singers for musical excellence. And that, certainly, was achieved.
...and of conductor John Baril, whose pacing offered both dramatic excitement and vocal space. The orchestra may have managed just a tentative-sounding overture, but the players gathered their forces, found some of the sharp-edged atacks and the color that had been missing at the beginning and provided a vivid soundscape for the rest of the evening.
In the pit, John Baril led an outstanding orchestra, maintaining a steady beat....
[Music Director and] conductor John Baril provided fine support in the pit.
The orchestra played beautifully under Baril's direction: supportive, precise, never overshadowing the singers.