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(World's Greatest Classical Music). 74 of the world's greatest melodies from the timeless works for the stage, transcribed for intermediate- to advanced-level piano solo. Includes highlights from dozens of great works, including Aida, The Barber of Seville, La Boheme, Carmen, Don Giovanni, Faust, Die Fledermaus, Hansel and Gretel, Madama Butterfly, The Marriage of Figaro, Rigoletto, Der Rosenkavalier , and Tosca .
Paperback: 240 pages
Publisher: Hal Leonard (February 1, 1998)
Product Dimensions: 9 x 0.6 x 12 inches
Shipping Weight: 1.6 pounds
Arias well arranged for piano
on May 20, 2016
By Don Fineberg
These opera arias are for the piano, not for accompanying actual singing, of course you can sing-along. They are correctly described as intermediate advanced. There is another book in the series for easy intermediate playing on the same Arias. Looks the same with the same arias but with a green cover. I recommend them both if you are starting on the piano and love opera.
These are mostly from piano reduction scores of great arias and as such are useful as the melody …
on May 12, 2017
By Teresa Hermiz
These are mostly from piano reduction scores of great arias and as such are useful as the melody always dominates. The worst part is the binding. It’s too thick to keep open.
on December 1, 2013
better to be able to “peek inside” as the arrangements are more difficult than I anticipated – however, they serve the purpose (for gigs) that I needed and the book is well put together and varied selection – large selection – so that is good.
on June 29, 2015
By James Travis
Very playable and quite familiar selections.
Appropriate for popular concerts
on April 11, 2014
By Laurie Le claire
Many well known operatic melodies easily included in a popular music concert, perhaps with arrangements of Gershwin’s tunes from well known shows.
when you gotta have it…
One person found this helpful.
on May 12, 2014
By Stella Fitzgibbons
Except for a Puccini book Hal Leonard also published, this is about all you’re going to find in opera music transcribed for piano. But when you have to play classical music for a wedding and want something that doesn’t sound funereal, you’d better have something like “Che Gelida Manina” or “Voi, Che Sapete” ready to dust off. And even for cocktail music something like those is fun for variety. I wish the piano parts were a little simpler, because you won’t use this often and it would be very helpful if less practice were needed. Still, I’m grateful it’s here.
21 people found this helpful.
on April 4, 2000
By Golden Reader
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.
8 people found this helpful.
on May 20, 2003
By Joanna D.
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.
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