@Early21 I still love that piece so much!! Cool to know that it was made with BBC SO. I never tried that one. 
Regarding orchestral libraries: To me it also really depends on the project, what the compositional style is, and what I want the end result to sound like. There are several libraries I own – neither of them are new ones – that I tend to reach for.
The ones that tend to sound amazing if you want a “big” sound, is the stuff from ProjectSam. Symphobia 1+2+3 for strings, brass and winds, and True Strike 1+2 for percussion (and their equally wonderful Concert Harp). These are ancient – True Strike is maybe 20 years old and still my go-to library for orchestral percussion. Because the libraries are old, they load really fast, and are fast and snappy to use.
Now, if you come from the classically trained world, the Symphobia libraries might initially be a turn-off in the way they are constructed, because they are maybe geared towards the Hans Zimmer wannabes that don’t want to think about the difference of what the first and second violin sections or the viola section is playing. These are “ensemble patches” where larger groups of instruments are played together. Therefore the samples sound very very good, but you don’t have the same degree of compositional freedom. Still, you can get very good results if you are willing to think a bit outside of the box. There are some amazing legato patches in Symphobia 2, with stuff like “violins and flutes playing in unison”. Of course, the project file might end up looking a bit like a mess and you have to use loads of different patches to get what you want. But these sounds load very fast and sound very convincing. And they are easy to play right out of the box.
In this theatre score from 2018, I think I used 80% ProjectSam libraries:
Now, if I on the other hand want to think more traditionally, and construct separate voices for violins 1 and 2, viola cello and bass, etc., I tend to use the libraries from Cinesamples – CineBrass, CineStrings and CineWinds. They sound good, but I’m not a big fan of the default configuration which wants you to use a sustain pedal to trigger between legato or staccato samples. I’d rather work with keyswitches. Luckily, you can configure this too, but it means that you have to spend some time in the setup stage.
On this 2019 project I used CineStrings, CineBrass and CinePerc, in combination with some synths from Arturia (I believe) and some other weird electronic stuff (I also used Cinesamples’ own piano, which blends really beautifully with the orchestral samples, it was all recorded in the same room):
Another library I tend to go to for strings is LASS (Los Angeles Scoring Strings) by Audiobro. This was released around 2010 and its sound has remained largely the same. It is more cumbersome to use, but the thing I really like is that the string sections are split in separate divisi, so there are some really cool arranging possibilities. I also really like that it has a more “intimate” sound – it is hard to describe, it just sounds a bit more raw and “airy”. And you can pick some of the divisis and construct smaller string ensembles with it, which I really like, as a full orchestral sound is actually quite often not what I am after.
On this project from way back in 2012, I used LASS for strings, True Strike for percussion and CineBrass for all the brass. In addition I had studio musicians on violin, viola, horn, trumpet and trombone overdub the “melody” parts of the score, while the “ensemble” parts, patterns etc. are all libraries.
(Track 3 “Bryllup” and onwards is where the full orchestra is utilised, especially in the latter half. Track 4 “Sjakkbrett” has some Stravinsky-esque staccato strings from LASS from 0:38 onwards, which still sound amazing to me – if you like that kind of thing.)
It needs to be said that I am a bit stuck in the past. 
I have little patience for trying or learning newer libraries (if it ain’t broken, etc…). I hear that the stuff of Spitfire and Orchestral Tools is supposed to sound fantastic. And I’m sure there are lots of others as well! But just as often I hear examples of stuff that does not manage to convince me. As has been pointed out, much of this is about how much time you are willing to spend on the programming side. And here’s where I believe in learning your tools well, instead of jumping on the newest bandwagon at all times.
Also: Very rarely do I rely on the included reverbs. If I use them at all, I also combine them with reverb sends, on the intention of putting the different sounds “in the same room”. For many years my go-to was the “Orchestral Plate” patch from UAD’s good old EMT140. Currently I use a combination of Seventh Heaven Professional (lovely!!) and Chameleon Surround (great alternative to Altiverb for realistic spaces).
