C. Gounod Faust

[...] Especially since it allowed the audience to enjoy the sonority of Reims Opera orchestra under the baton of Cyril Englebert, a Belgian conductor practically unknown in France. It was the young conductor and the guest orchestra who undoubtedly leaded the opera evening. Gounod's music has found serenity, sound and sensitivity, phrased with great elegance, ruptures of majestic rhythms, exquisite melodies. The brass, woods and strings combined or separated by desks embody, step by step, the many aspects of the characters in this fantastic story. Of course, there were the orchestral explosions required by the score, but they were themselves conducted and performed by percussions with mastery and a great awareness of the possibilities of the concert hall. In the end, the orchestra gave a version that reflects the truth desired by the composer without harming the respect of the singers' work.. [...]

Jaume Estapa, operaactual.com

[…] And we have only good things to say about Reims Opera Orchestra under the baton of Cyril Englebert, very good technician, precise and lyrical at the same time.

Jacques Bonnaure, Opéra Magazine n°145

[….]The musical direction of the Belgian conductor Cyril Englebert, already present in Reims, placed at the head of the Reims Opera Orchestra, contributes a lot to the success of the performance. Particularly attentive to the stage and the singers, he does not forget to give all its meaning to Gounod’s music, with an expressive sensitivity always supported and requirements that lead the orchestra to express the best of its abilities […]

José Pons, Olyrix.com

[…] Accurate and effective, the musical conducting of Cyril Englebert also renders justice to one of the most beautiful orchestral scores of the French lyric repertoire.

Pierre Degott, Resmusica.com

D.F.E. Auber Manon Lescaut

[…] ORW’s orchestra shows us that it just needs a real conductor to animate it healthy. And here, the work of Cyril Englebert is exciting. [...] Bright and precise, vigorous and dynamic, his conducting abilities are a model of style and efficiency. It is him who ensures the balance of the performance,[…]

Serge Martin, Le Soir

[…] We must not forget the orchestration, so delicate that it is barely noticeable and yet poses fearsome problems of cohesion, impeccably solved, and with panache, by Cyril Englebert, Young Belgian conductor well known by the ORW since, inter alia, perfectly conducted Offenbach operettas.[…]

Bruno Peeters , Crescendo magazine

[…] The orchestral aspect of this performance was in the excellent hands of the young conductor Cyril Englebert. Under his direction, the orchestra played passionately but without ever becoming sloppy or imprecise.

Laura Roling, Operatics

[…] The success of the evening is also due to Cyril Englebert. In a more diversified work than the Offenbach Operettas he had been entrusted with so far, including a beautiful overture and several orchestral interludes, the young belgian conductor shows not only a perfect mastery but also a great intelligence. His interpretation is refined, finely colored, and the orchestra of the ORW follows him with obvious confidence. […]

Nicolas Blanmont, La Libre Belgique

[…] Fortunately, the Cyril Englebert leading lends prestige to the music. Convinced of its qualities, the conductor confers momentum, precision and lightness on it,. Strings could sparkle more but the woods exhale all their flavors thanks to the sharpness of the setting up.[…]

Sébastien Foucart, Concerto.net

Gaetano Donizetti Don Pasquale

The Lorraine National Orchestra [...] is reactive to the leading of Cyril Englebert: the music sparkles, dances, is a dream as expected. Let's mention as so many the introduction then support of Norina's cavatina ; dreamy, poetic, enthousiastic, performance, as well as the commonplace of the nocturne and the finale.

Albert Dacheux, Classiquenews.com


It gives a magnificent show [...]. Impression strengthened by Cyril Englebert's dynamic and flamboyant musical direction. The young Belgian conductor takes hold of the lively tempi, getting the most out of the Lorraine National Orchestra.

Opéra magazine n°135
 

Cyril Englebert, a young Belgian conductor, whose lyrical experience is obvious, leads the Lorraine National Orchestra with talent, animating with taste this sparkling music, but also knowing how to find the right colors, with a constant attention for the singing of soloists.

Yvan Beuvard, forumopera.com
 

The leading of Cyril Englebert was in any case proved effective for a great repertoire opus that we have had pleasure to discover under new aspects.

Resmusica.com

Ralph Benatsky L'Auberge du cheval blanc

The orchestra takes the aesthetic on and easily switches from Viennese lightness to emphatic Tyrolean songs or music-hall rhythms. Cyril Englebert, already appreciated in a recent Don Pasquale, proves all his qualities.

Yvan Beuvard, forumopera.com


The Lorraine National Orchestra, under the efficient baton of Cyril Englebert, plays, in the best sense of the word, with these Viennese music, Tyrolean songs (with a solo accordion on stage) and these balanced rhythms of musical comedy.

Albert Dacheux, Classiquenews.com

Jacques Offenbach La Grande Duchesse de Gerolstein

[…] Under the Cyril Englebert’s baton, the Liege Royal Opera Orchestra sounds sparkling as needed.. […]

Catherien Scholler, Opéra Magazine

[…] Like "Belle Helene" last year, Cyril Englebert conducts Offenbach with verve but without heaviness. […]

Nicolas Blanmont, La Libre Belgique

Jacques Offenbach Orphée aux Enfers

[...]Cyril Englebert emphasizes the subtle delicateness of Offenbach's orchestration, who deserves his nickname "Mozart des Champs-Elysées". […]

Bruno Peeters , Crescendo Magazine

 

[…] Face to face with the whims of all this little world, Cyril Englebert skillfully restores the finesse and elegance of this music. […]

Sébastien Foucart, Concerto.net


[…] The cast richness, the sumptuous sets, the precise vocal interpretations without the slightest weakness and, above all, an orchestra conducted with finesse and a mischievous intelligence by a true partner of the comedy, Cyril Englebert, are there to delight us and make us pass the year stage. […]

Arts et lettres

Jacques Offenbach Belle Hélène

 

[…] The success of this “Belle Helene” owes him a lot. Not only because he chose the complete version established by the musicologist Jean-Christophe Keck, but also for the combination of rigor and fluidity with which he holds the evening, and this ability also to not weigh the subject down by underlining some effects. Englebert is not far away from the Minkowski tempi and seems to be appreciated by the orchestra. […]

Nicolas Blanmont, La Libre Belgique