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Celibidache Edition - Sacred Music & Opera Box set

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Product details

  • Orchestra: Munchner Philharmoniker
  • Conductor: Sergiu Celibidache
  • Composer: Johann Sebastian Bach, Wolfgang Amadeus Mozart, Carl Maria von Weber, Johannes Brahms, Richard Wagner, et al.
  • Audio CD (17 Oct. 2011)
  • Number of Discs: 11
  • Format: Box set
  • Label: EMI Classics
  • ASIN: B005HYNCSG
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 10,429 in Music (See Top 100 in Music)

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Product Description

Brought together here in four special volumes the Celibidache series celebrates the extraordinary legacy of his collaboration with the Müncher Philharmoniker portraying the excitement and atmosphere of their live performances.  These recordings are unique to EMI Classics and were painstakingly mastered to retain and recreate the vibrancy and impact of Celibidache and the Müncher Philharmoniker’s live performances.  2012 is the centenary of Celibidache’s birth with his estate planning various celebratory activities.  EMI Classics are releasing this collection in co-operation with his estate who will help to promote Celibidache’s unique style and output through the release of materials from his archive.

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Most Helpful Customer Reviews

2 of 3 people found the following review helpful By Hilton Bennett on 25 Dec. 2013
Format: Audio CD Verified Purchase
If you find Celibidache's EMI Bruckner Symphonies set tedious then don't bother to read further.

However, if you enjoy the measured and stately approach he takes in that set then you will likely find much to like about this compilation of sacred and opera music.

While I like Celibidache's slow Bruckner I also like others' Bruckner such as Karajan, Giulini, Knappertsbusch, Maazel, Furtwangler and Tennstedt - so I'm not one of those feared "only Celi knows how to do Bruckner" types!

I bought this primarily for the works I know: Requiems by Verdi, Brahms and Mozart and these readings are quite different to the my usual choices of Guilini, Karajan, Klemperer and Solti (I don't have any affinity with the "new age/18th century/HIP" versions).

The other works on this set also will be listened to more carefully. A quick listen indicates that the opera works and the Stravinsky are going to be enjoyed.

In these longer versions of the Requiems details emerge more clearly and the works take on an more revered and Ecclesiastical tone (said without apologies!)

However, whether this dimension resonates with you or not you will, I believe, see a lot of merit in the way Celibidache effortlessly unfolds these magnificent pieces. For me, these compliment rather than replace any of my favourites.

Update: 28 September 2014

Having now listened to the complete album I have no hesitation in increasing my star rating.

The Mendelssohn and Smetana are glorious, the Italian overtures beautifully played with the reverence one would expect of the maestro. The Stravinsky proved to be the joy I expected it to be and I still know nothing of Weber, so cannot comment on this Oberon.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
8 of 8 people found the following review helpful
Surprisingly deep Bach, Brahms, and Faure 3 Oct. 2012
By Felice A. Picano - Published on Amazon.com
Format: Audio CD Verified Purchase
Having listened to so much of Celibidache's old and new recordings I thought what a bargain! -- let me take a chance. Be warned that none of the choral music here is fleet and perfectly accented in the echt-Baroque style we now accept. However it is marvelous. The Bach is slow but it grows on you with listening and the solo and choral singing is superb. I've now listened to this entire piece multiple times. The Mozart is also good. The Brahms Requiem is, again, quiet and slower than say Gardiner, but marvelously felt and presented and may push out my old mono Karajan favorite (with Hotter and Schwarzkopf). The Faure is another charmer, not rapid and a la Paris, it's another beautifully sung and played piece. As for the other works, some are very good and a few are amazing. The Rossini overtures show how Celi could conduct rapid music perfectly--La Scala de Seta Overture has to be heard to be believed; while La Gazza Ladra and Semiramide are also light and Italiante. Of course Celi shines in Germanic music, and his Mendelssohn Hebrides, Schubert Rosamunde, Fledermaus and Weber Oberon overtures are completely in his blood. The Wagner pieces are done at length, seriously, weighty, and with astounding beauty of tone. The Munich Philharmonic loved this conductor and it played for him as well as it ever did. On now to his Stravinsky Symphony of Psalms, and Verdi Requiem.
5 of 5 people found the following review helpful
Hit and miss,different provocative,an excellent bargain 16 Nov. 2013
By A. Hogan - Published on Amazon.com
Format: Audio CD
Celibidache is always hit or miss.What he was,indeed, was one of the last of the uber imperious conductors.His Bruckner's are magnificent,these are slightly different.His Bach is harsh ,for me,anyhow,though the Brahms is subtle.A good buy at 5 bucks a disc
Works on This Recording
1. Mass in B minor, BWV 232 by Johann Sebastian Bach
Performer: Anton Scharinger (Bass), Yaron Windmuller (Baritone), Peter Schreier (Tenor),
Barbara Bonney (Soprano), Ruxandra Donose (Mezzo Soprano)
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Baroque
Written: 1747-49; Leipzig, Germany
2. Requiem in D minor, K 626 by Wolfgang Amadeus Mozart
Performer: Christel Borchers (Mezzo Soprano), Caroline Maria Petrig (Soprano), Matthias Hölle (Baritone),
Peter Straka (Tenor)
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra, Munich Philharmonic Choir
Period: Classical
Written: 1791; Vienna, Austria
3. German Requiem, Op. 45 by Johannes Brahms
Performer: Arleen Augér (Soprano), Franz Gerihsen (Baritone)
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Bach Choir, Munich Philharmonic Orchestra, Munich Philharmonic Choir
Period: Romantic
Written: 1854-1868; Austria
Date of Recording: 07/02/1981
Venue: Live Lukas Church, Munich, Germany
Length: 87 Minutes 32 Secs.
Language: German
4. Die Meistersinger von Nürnberg: Act 1 Prelude by Richard Wagner
Performer: Alan Titus (Baritone), Margaret Price (Soprano)
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1867; Germany
5. Siegfried Idyll by Richard Wagner
Performer: Alan Titus (Baritone), Margaret Price (Soprano)
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1870; Germany
6. Götterdämmerung: Siegfried's Funeral Music by Richard Wagner
Performer: Alan Titus (Baritone), Margaret Price (Soprano)
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1874; Germany
7. Tannhäuser: Overture by Richard Wagner
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1845/1861; Germany
8. Requiem, Op. 48 by Gabriel Fauré
Performer: Margaret Price (Soprano), Alan Titus (Baritone)
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra, Munich Philharmonic Choir
Period: Romantic
Written: 1887-1890; France
9. Symphony of Psalms by Igor Stravinsky
Performer: Alan Titus (Baritone), Margaret Price (Soprano)
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra, Munich Philharmonic Choir
Period: 20th Century
Written: 1930/1948; France
Date of Recording: 01/31/1984
Venue: Live Herkulessaal, Munich, Germany
Length: 23 Minutes 29 Secs.
10. Guillaume Tell: Overture by Gioachino Rossini
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1829; Italy
11. Semiramide: Overture by Gioachino Rossini
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1823; Italy
12. La scala di seta: Overture by Gioachino Rossini
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1812; Italy
13. La gazza ladra: Overture by Gioachino Rossini
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1817; Italy
14. La forza del destino: Overture by Giuseppe Verdi
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1862/1869; Italy
15. Don Giovanni, K 527: Overture by Wolfgang Amadeus Mozart
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Classical
Written: 1787; Prague, Czech Republ
16. Le carnaval romain Overture, Op. 9 by Hector Berlioz
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1843-1844; France
17. Midsummer Night's Dream Overture, in E major Op. 21 by Felix Mendelssohn
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1826; Germany
18. Hebrides Overture, in B minor Op. 26 "Fingal's Cave" by Felix Mendelssohn
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1829-1832; Rome, Italy
19. Rosamunde, D 797/Op. 26: no 1, Overture (D 644) by Franz Schubert
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1823; Vienna, Austria
20. Má vlast: no 2, Moldau, T 111 by Bedrich Smetana
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1874; Czech Republic
21. Die Fledermaus: Overture by Johann Strauss Jr.
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1874; Vienna, Austria
22. Oberon, J 306: Overture by Carl Maria von Weber
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1825-1826; Dresden, Germany
23. Parsifal: Good Friday Music by Richard Wagner
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1877-1882; Germany
24. Tristan und Isolde: Prelude and Liebestod by Richard Wagner
Conductor: Sergiu Celibidache
Orchestra/Ensemble: Munich Philharmonic Orchestra
Period: Romantic
Written: 1859; Germany
7 of 9 people found the following review helpful
I hear these perfomances differently 2 Mar. 2013
By Timothy R. Carpenter - Published on Amazon.com
Format: Audio CD Verified Purchase
... from the previous reviewer. If Maestro Celibidache was truly a perfectionist I can't see how he would be happy with the publication of some of these performances. And, believe me, it's not the slow tempi in and of themselves: it's the execution. The Munich Philharmonic is not in the same class as the Berlin, Vienna and Czech Philharmonics, nor the Leipzig Gewandhaus or Staatskapelle Dresden, to name the nearby top-notch orchestras, but it is a fine group nonetheless. The problem lies with the singers, both soloists and chorus.
I do not think that there is any piece of music that has only one "proper" way of being performed and I like hearing what different conductors and performers bring to a piece. That doesn't mean that I agree with them all. I know all of these choral pieces from the inside out; I have sung them all with various groups - from church and community groups to the New York Philharmonic under Leinsdorf for the Brahms and Mehta for the Verdi and (but?) I value a wide range of performing choices. Here is what I hear.

Bach: A weighty performance, but not necessarily slow. Interesting attention to detail. Barbara Bonney and Peter Schreier do well, but the four other soloists do not sing well, or in tune. The Munich Bach Choir, which made at least two excellent recordings under Karl Richter, sound ragged and under-rehearsed. The flute player struggles with the moto perpetuoso, despite a moderate tempo. Frankly, the whole performance sounds under-rehearsed.

Mozart: The choir here, and in the rest of the choral works, is the Munich Philharmonic Choir and they are a distinct improvement. There are some interesting (or odd: take your pick) articulations in both orchestra and chorus parts. The soloists are adequate. The tension and heft in Rex Tremenae is truly tremendous.

Verdi: This is my least favorite performance here: the chorus and orchestra threaten to go separate ways frequently and the choral men resort to shouting at times. The bass, Kurt Rydl, sings well, but might as well be singing nonsense words. The alto, Reinhild Runkel, is the most interesting singer. The soprano has the right voice for this piece and her instincts are good, but she is often under pitch. Peter Dvorsky, the tenor, is a trial on the ears: he sobs, croons, shouts, strains and sings painfully under pitch - sometimes as much as a half step in the trio.

Brahms: This is my favorite of the choral performances under review. Only the Sinopoli performance rivals it in slowness, but Sinopoli has a better chorus and orchestra. The chorus is mostly good; sopranos begin flat and don't get into the right key for several minutes - and have other patches of flatness from time to time. There are some very nice details in inner voices and the piece has an appropriate gravitas. The soloists are better than Sinopoli's. Franz Gerlhsen has a lovely voice, phrases nicely and does not struggle overly much with the high notes. Arleen Auger is phenomenal in her solo: gorgeous tone, accurate pitch and incredible breath control.

Faure and Stravinsky: I have never thought of these pieces as similar, but in terms of weight, tempos, sound and atmosphere, Celibidache makes them so. Both pieces are rhythmically secure, fairly slow and lush (not a word I would think to ascribe to Stravinsky). Alan Titus is the baritone in the Faure and he is sore pressed to sing the long line and high tessitura at the conductor's relaxed tempo. He gets a bit wobbly at times. Dame Margaret Price is luxury casting here, but at this point in her career (a decade after she took up Isolde) she sounds a bit big-voiced for the "Pie Jesu".

Overtures: It's interesting to hear what Celibidache does with these these. I prefer my Rossini fleeter of foot and my Mendelssohn less lush, but Schubert's Rosamunde is more beautiful here than in others hands.

Wagner: Big, lush and often gorgeous, but sometimes gooey (Siegfried Idyll) or lacking in movement (Tannhauser - Dresden version).

Summary: all in all an interesting 12 hours of listening, but other than Auger's solo and a few of the overtures there is little here I'd want to listen to again. Celibidache is a fascinating conductor and I'm curious about his Beethoven and Bruckner. Guess I'll have to spring for those boxes, too.
superb 9 Jun. 2015
By ge_nyc - Published on Amazon.com
Format: Audio CD Verified Purchase
superb
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