This is, surely, one of the best of Liszt's operatic paraphrases and, fortunately, one of the easiest technically; it fits the hand like a glove and almost "plays itself" once learnt.
Here are a few of my tips:
Try to "finger" octave passages wherever possible rather than using 5/1 (which tends to result in inaccuracy and fatigue) all the time. Fingering is a very personal thing and depends on a number of factors, not least the size of the individual hand. I finger the outer line of the octaves in bar 1 thus:
554544455545455. and the right hand in bar 2 like this:
45, 54, 554.
But you will need to establish what is most comfortable for yourself.
The most awkward passage, I found, was the cadenza which consists of minor 6ths between the hands. Work out the fingering which feels most comfortable and practice the passage in small units (for example stopping on the first demisemiquaver of each group, then adding another until you have built up the whole run) Do the same thing starting from the end of the passage and work backwards! Practise in dotted rhythms; play the passage transposing the l.h. down an octave which will help you to hear it clearly. Also, using the correct fingering, play with just the outer fingers of the right and left hand and then with the inner ones. If, after all this, the passage still remains a mess, either cut it out or have a look at a Haydn sonata instead!
Don't be tempted to play the repeated octaves in demisemiquavers which occur later in the piece too vigorously. The passage is marked "dolce" and, as has been suggested elsewhere in this thread, has its origin in vocal music. Just feel a light stress on the first of each group of four demisemiquavers, and relax on the remaining three, keeping in contact with the keys. I believe this is sometimes known as "The vibrato touch" (but somebody please correct me if I'm wrong).Again, finger the octaves if possible.
Topic: Anyone got any tips for liszt's Rigoletto?