A phenomenon of Broadway from the day of it release, no other show in recent years has generated as much excitement and adoration from both fans and critics as Adam Guettel's The Light In The Piazza.
Winner of 6 Tony Awards including Best Original Score, the show is based on an Elizabeth Spencer novella, and follows a mother, Margaret, and her daughter, Clara, as they take a holiday to Italy. There, Clara and a young Italian gentleman fall in love, but Margaret is determined to keep them apart.
This sumptuous songbook features eleven songs from the play, alongside a beautiful selection of glossy full-colour photos, a biography of the composer and a celebratory article discussing the show's unique magic by Frank Rich.
The Light in the Piazza soars - and scores - above any musical on either side of the Atlantic. We now have the vocal selections to accompany the beautifully crafted CD with most of the songs re-produced for voice and piano. As Adam Guettel stated his 'ruffley shirted' romanticism journeys musically and lyrically along the less travelled paths ultimately finding its' release and conclusions in the most surprising permutations. This is a joyous, multi-layered, convincing and utterly captivating piece of writing! Anonymous
Ever since I first heard it, I have admired the score for Adam Guettel's operatic broadway musical 'The Light in the Piazza', for it's wonderfully original melodies and beautiful orchestrations. Therefore, it was with some trepidation that I opened the piano songbook, as so often such details can be lost among simplified piano lines and cut-down versions of songs.
On the whole, I was really impressed. The piano part is infinitely better than in most similar books - it is quite difficult in most of the songs, yes, but when you eventually manage to play it right, the sound you produce is exactly right! It feels great under the fingers, and you could almost kid yourself the full orchestra was there with you, especially in 'The Light In The Piazza' 'The Beauty Is', 'Let's Walk', 'Say it Somehow' and 'Dividing Day', so good are the arrangements.
My only single gripe is that the melody is often included in the piano part, which makes it even harder to play than it already would be. I usually just ignore this wherever possible - if you simply play the accompaniment without that line, you still get a good sound and the singer can move more freely and not have to stick to a rigid rhythm.
If you are a fairly good pianist (probably no less than grade 5 ABRSM level) then this book will be perfect, as it will provide some challenges just to keep things interesting (for example, the opening bars of 'The Beauty Is' - my word, they're tricky!) but eventually will allow you to produce a great sound.
Buy it! Anonymous
- (Leicester, United Kingdom)