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.
Conductor John Baril, the company's music director, turns in a strong performance in the pit, capably pacing the production and backing the singers.
Conductor John Baril makes magic with the CCO pit band, distinguished further by principal flutist Jessica Warren-Acosta as Petrova’s partner in the “Mad Scene.” No matter how you read the Sir Walter Scott’s novel that is the source of Donizetti’s libretto, “Lucia” is heavy stuff, and that encourages some to bring Wagnerian weight to the score. Not so [Baril] who — stressing the marvelous lightness of Petrova’s voice — emphasized the transparency of the score [to] make it downright luminescent.
One owes a debt of gratitude to conductor John Baril for pacing the proceedings with a sensitive baton, which creates a glorious synchronization of the luscious Central City Opera orchestra with the singers onstage.
Conductor John Baril's expansive reading brought its own rewards;[the] contrasting swift tempo adopted for "Mi tradì" proved most telling ….
The evening’s Cendrillon was quite delightful under John Baril’s skilled baton…
John Baril leads the festival orchestra in resonant harmony with Jules Massenet's lovely romantic melodies.
John Baril, the company's music director, does his usual fine job as conductor.
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!
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.