I don’t know what kind of patches/expression your orchestral library has. But it sounds like everything is quantized for a start. When I’m producing MIDI mockups I quantize after performing parts in and then I’ll randomize by 20 ticks for every part (and for some faster passages I randomize by 10.) Also, for the staccato cellos at the beginning they sound lifeless because every note has the same attack, the velocities don’t sound randomized enough.
In terms of writing I don’t think that particular pattern works well when it’s bare like that. It just sounds too repetitive. The violin arpeggios sound like they’ve just had the volume turned up (making them sound unrealistic) as the actual timbre/characteristic of the note just isn’t changing. Additionally, those arpeggios shouldn’t really be your main focus. The melody lines aren’t really strong enough melodically. Not all melodies have to be remembered, but for me the melody notes just aren’t aligning with the chords in any way that speaks to me.
Those toms are a very bad choice as they are so boomy they just swamp the orchestra in a cloud of mud whenever they are hit.
I have no idea how you have 94 tracks there though, I just can’t pick out that many different instruments or varying articulations being used. I mean, I can’t any hear tremolo strings, pizzicato, col legno, or even variations of short notes (spiccato, staccatissimo, staccato, staccato-on-the-bow, marcato.) I can only hear the same technique throughout for the violin arpeggios (personally I’d prefer them to be either spiccato or staccatissimo.) I’m limited to 32 tracks with C6 Artist myself, which is enough for sustain/stacc for most instruments plus several percussion tracks.
If you’re just beginning with orchestration I’d suggest that you drop extra instruments like piccolo trumpet and work on the core instruments that are common. It’s hard to give tips on the orchestration because there is so much reverb present, which is fine (if it’s a reverb that gives more clarity.) I use large sized halls myself. But it’s easier to see what is wrong with orchestration by checking the score.
Part of the reason why it’s hard to pick out parts/instruments is because of the orchestration but the other is the reverb used that makes things sound muddy. And also, remember how much mud and boominess those toms are producing. If you use toms with orchestra you want snappy ones that aren’t boomy. Sometimes when I use taiko drums I have to cut away the low frequency so that they don’t overpower the orchestra.
There is a lot of editing involved in getting more realistic results ( also different sample libraries are required too.) It takes time to learn and refine, but you can do it faster with practice and it’s well worth it if you enjoy writing for orchestra and have decent samples.
The opera gong on the end just sounds…wrong for the style of music. If you do want a gong there I’d suggest using a different and bigger one. 
There isn’t much dynamic shaping either, in general. But I’m more referring to the melody horizontally. Choosing where the melody/piece will peak and rise and fall.
Probably missed out some stuff out above. Good attempt anyway, keep going.