I was privileged to hear Celi live on three occasions. In each case the concert was memorable, one in London with the LSO where Celi gave a quite magnificent performance of Tippett's Ritual Dances from A Midsummer Marriage". Here we understood the importance of all those rehearsals - something that London orchestras always had in short supply. The dynamic gradations were superbly realised and I have never heard a recording of this piece to equal what Celi did that night.
But most impressive was his concert at Carnegie Hall in 1984 with the Curtis Institute student orchestra. He opened the programme with the Thieving Magpie Overture of Rossini, in a reading of suavity that listeners to this conductor would immediately recognise as bearing his hallmark. This was quickly followed by Iberia of Debussy. I had heard him do this in the London concert too, but this was equally fine, a reading of languishing tempi, transparent texture and real affection.
The real fireworks ! came after the interval - Celi gave a reading of the Prelude and Liebestod that would have done credit to a Furtwangler or Stokowski. This was not a reading of fiery inflamed passion, but one of supreme sensuousness, the control of dynamics was quite incredible and the orchestra played considerably better than their Philadelphia colleagues who get paid to play on a full time basis.
In fact, the next evening I was in the same hall to hear the Philadelphia Orchestra with Muti and the difference was apparent immediately - Celi's orchestra of students sounded more blended and polished than the mighty Philadelphians under Muti! And this was not only my opinion! A player in the Philadelphia orchestra confessed to me in the intermission "I feel ashamed to go out tonight after what those kids did here last night". And indeed it was true.
The Wagner blossomed into the Liebestod like sunshine bursting through clouds. It was a moment of real heaven on earth. A glimpse of the almighty that drew an audible gasp from some! around me in the audience. "What he did with that was incredible" one listener said to me afterwards.
The last piece was the Scythian Suite of Prokofiev. Never merely loud, as it in the hands of some, but a dancing reading of impressive might and virtuosic playing. The second section was encored. New York was intoxicated by this partnership in a city where there is an endless parade of the best orchestras rehearsed to the hilt every other night at Carnegie. They might not have been the Berlin Philharmonic but they were heavenly and Celibidache will always live in my memory as a conductor who could deliver a real performance and who cared about sound. Truly inspired and inspiring!
John Kelly
It is my pleasure to contribute to Akira Tagata's Celibidache page. I welcome any correspondence(John Kelly <Johnk54250 at aol.com>>) pertaining to Celi or other great conductors!