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Rating: 
Summary: Worthy Transcriptions
Review: The full title of this book is Opera at the Piano: 74 Favorite Selections from 45 Operas Transcribed for Intermediate to Advanced Piano Solo. The title is quite accurate in that nearly all of the selections included are well known "favorite selections." Included are: "Celesta Aida" and the "Triumphal March" from AIDA, "Una voce poco fa" from IL BARBIERE DI SIVIGLIA, four selections each from LA BOHEME, CARMEN, MAGIC FLUTE and LE NOZZE DI FIGARO, three selections each from DON GIOVANNI, MADAMA BUTTERFLY, MANON LESCAUT, RIGOLETTO, TOSCA, LA TRAVIATA, and one or two selections each from: MARTHA, I PAGLIACCI, HANSEL UND GRETEL, LOUISE, LUCIA DI LAMMERMOOR, LA RONDINE, SAMSON ET DALILA, Il TROVATORE, etc. As would be implied by any listing of "favorites," the time period covered is basically Mozart through Puccini, with a few earlier chestnuts thrown in (a couple of selections from Handel's SERSE and GIULIO CESARE and "When I am laid in earth" from Purcell's DIDO AND AENEAS). The book includes transcriptions of instrumental works as well as vocal works -- the Intermezzo from Macagni's CAVALLERIA RUSTICANA, the Waltzes from Strauss' DER ROSENKAVALIER, the Mediation from Massanet's THAIS, and overtures to Rossini's GUILLAUME TELL and Glinka's RUSLAN AND LYUDMILA. None of the well known instrumental music of Wagner is included and his presence in this volume is limited to two selections from TANNHAUSER. Included at the beginning of the book are short paragraph-length synopses of all of the operas represented which would no doubt be helpful to those unfamiliar with all of the operas represented. The transcriptions are pianistic and work well at the keyboard. None of the transcribers are identified. The pieces are of medium to advanced difficulty. These are not transcriptions in the sense of the virtuosic Lisztian operatic transcriptions where Liszt wrote new compositions based on operatic melodies. Instead, these are straightforward faithful piano transcriptions of works originally written for voice and orchestra. It is unlikely that any of these pieces would be included on recital programs. I see the main function of these pieces as giving opera loving pianists hours of pleasure playing through them for him/herself and maybe for friends.
Rating:
Summary: Worthy Transcriptions
Review: The full title of this book is Opera at the Piano: 74 Favorite Selections from 45 Operas Transcribed for Intermediate to Advanced Piano Solo. The title is quite accurate in that nearly all of the selections included are well known "favorite selections." Included are: "Celesta Aida" and the "Triumphal March" from AIDA, "Una voce poco fa" from IL BARBIERE DI SIVIGLIA, four selections each from LA BOHEME, CARMEN, MAGIC FLUTE and LE NOZZE DI FIGARO, three selections each from DON GIOVANNI, MADAMA BUTTERFLY, MANON LESCAUT, RIGOLETTO, TOSCA, LA TRAVIATA, and one or two selections each from: MARTHA, I PAGLIACCI, HANSEL UND GRETEL, LOUISE, LUCIA DI LAMMERMOOR, LA RONDINE, SAMSON ET DALILA, Il TROVATORE, etc. As would be implied by any listing of "favorites," the time period covered is basically Mozart through Puccini, with a few earlier chestnuts thrown in (a couple of selections from Handel's SERSE and GIULIO CESARE and "When I am laid in earth" from Purcell's DIDO AND AENEAS). The book includes transcriptions of instrumental works as well as vocal works -- the Intermezzo from Macagni's CAVALLERIA RUSTICANA, the Waltzes from Strauss' DER ROSENKAVALIER, the Mediation from Massanet's THAIS, and overtures to Rossini's GUILLAUME TELL and Glinka's RUSLAN AND LYUDMILA. None of the well known instrumental music of Wagner is included and his presence in this volume is limited to two selections from TANNHAUSER. Included at the beginning of the book are short paragraph-length synopses of all of the operas represented which would no doubt be helpful to those unfamiliar with all of the operas represented. The transcriptions are pianistic and work well at the keyboard. None of the transcribers are identified. The pieces are of medium to advanced difficulty. These are not transcriptions in the sense of the virtuosic Lisztian operatic transcriptions where Liszt wrote new compositions based on operatic melodies. Instead, these are straightforward faithful piano transcriptions of works originally written for voice and orchestra. It is unlikely that any of these pieces would be included on recital programs. I see the main function of these pieces as giving opera loving pianists hours of pleasure playing through them for him/herself and maybe for friends.
Rating:
Summary: Excellent transcriptions
Review: Unless you are a virtuoso pianist and can handle the Liszt transcriptions of opera, this is a fantastic way to play some of the greatest opera music on solo piano.I particularly like the "Revenge Song" from "The Magic Flute." These are for intermediate to intermediate-advanced (you can play some Beethoven Sonatas, for example) and deliver a lot of pleasing sound for the effort.
Rating:
Summary: Excellent transcriptions
Review: Unless you are a virtuoso pianist and can handle the Liszt transcriptions of opera, this is a fantastic way to play some of the greatest opera music on solo piano. I particularly like the "Revenge Song" from "The Magic Flute." These are for intermediate to intermediate-advanced (you can play some Beethoven Sonatas, for example) and deliver a lot of pleasing sound for the effort.
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