"…an exceptionally stylish and animated production of a masterpiece… The expert pacing that conductor Steven Byess achieves allows the narrative to unfold with swift, flexible assurance. Mozart's score was treated like a trunkful of jewels at Wednesday's opening performance. Byess' conducting had enormous forward motion, as well as ample room for expressive nuances…the CIM orchestra sounded like an elegant, seasoned Mozart ensemble. Memorable Mozart."

Donald Rosenberg, The Plain Dealer (Cleveland, Ohio)

"… Carl Orff created his "medieval romp," a setting of ancient texts and modern orchestration that itself seems occasionally to flirt with chaos. This fate was avoided under the suave direction of Maestro Byess, who flirted provocatively with edginess while providing the kind of incisive, intensely rhythmic conducting and tempos the work demands.

Bruce Smith, The Daily Journal (Tupelo, Mississippi)

"Crowning this seamless enterprise was conductor Steven Byess and his orchestra. Byess did more than just sensitively accompany his singers (plenty of room given for individuality of phrasing);… crucial scenes in Rodgers and Hammerstein musicals are underscored in an uniquely expressive way to enhance the emotional pull of a scene, and Byess' handling of such moments was masterful, even brilliantly judged…the score somehow coalesced in such a way that really made me aware of Rodgers' painstaking work in presenting a totality of atmosphere. Thanks to Byess and his astute, intuitive feel for these delicate balances, I was made aware for the first time of the overall impact of this score's apparently organic wholeness. I feel as if I have heard and seen the real CAROUSEL for the first time."

Niel Rishoi, Classical Singer Magazine

"Indeed, the finest aspect of this recording is the orchestral playing. Steven Byess conducts a performance that throws its arms around Kálmán's music and exults in the poetic shadows and whimsical moments."

Donald Rosenberg, Gramophone Magazine

"…this extraordinary performance was lead by Steven Byess, who, as always, draws out a full bodied sound, like a fine wine, from the OLO orchestra."

Thomas Harper, The Review (Alliance, Ohio)

"The operetta begins with an extended overture, and Associate Music Director Steven Byess took full advantage of its strengths, urging his orchestra to an expansive, full-bodied performance."

Charles H. Parsons, American Record Guide

"Johann Strauss II’s bubbling, sensuous operetta Eine Nacht in Venedig has not received much modern attention, so this joyful live recording is a welcome addition on disc. The ensemble work proceeds as smoothly as Swiss clockwork under the dynamic conducting of Steven Byess, creating a performance that is the epitome of froth and frivolity."

Janet Mullaney, Daedalus Books

“Byess was especially deft in juggling Creston’s complex syncopations, balancing the extended harmonies, and coordinating the polyrhythmic interplay between soloist and orchestra.”

Mark Stryker, The Dayton Daily News

“Under Byess, the orchestra played with extraordinary clarity and exuberance.”

Burt Saidel, The Oakwood Register

"The conductor revealed himself to be not merely an effective disciplinarian, but also a talented interpreter, able to capture the sweep of a piece without neglecting detail. He handled the tricky transitions in the Dvorak symphony smoothly, avoiding the sectionalization that afflicts many performances of this popular work".

Derrick Henry, The Atlanta Journal Constitution

"Byess kneaded and molded its intricate phrases with zest and spirit. This alternately lyrical and heraldic work, with its ghostly, warbling waltz, achieved a fine singing line under Byess".

Gary Lemco, The Marietta Daily Journal

"Steven Byess deserves special praise for holding together such a large ensemble. His clean technique and musicality provided outstanding accompaniments and showed the orchestra at its very best".

Eugenia Toole Glover, The Augusta Chronicle

"Mr. Byess deserves much praise for taking his time with Scheherezade, letting the emotional diversity and intensity of the piece really come across. He even made the simplicity of the string section's 'plucking' in the second movement seem electric".

Jason Wells, The Marietta Daily Journal