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Christopher Abbot
Fanfare, January 2008

De Billy’s sense of dynamics is flawless: Beethoven’s playful sudden punctuations in the finale sound as fresh as though we were hearing them for the first time—and that’s a good characterization of the performance as a whole.

The performances of the overtures benefit from de Billy’s years in the opera house: each becomes a self-contained one-movement drama, driven by excitingly quick tempos (though not devoid of flexibility or sensitivity) and a commanding sense of scale. The entire program thus reflects Beethoven’s exploration of the heroic. © 2008 Fanfare Read complete review

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