"Il barbiere di Siviglia (The Barber of Seville), Act 1: "Una voce poco fa" (Rosina's Cavatina)" by Eteri Lamoris, Tbilisi Symphony Orchestra was released on May 17, 2011. Since Il barbiere di Siviglia (The Barber of Seville), Act 1: "Una voce poco fa" (Rosina's Cavatina) is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. There are a total of 10 in the song's album "The Top Ten Opera Classics". In this album, this song's track order is #9. In terms of popularity, Il barbiere di Siviglia (The Barber of Seville), Act 1: "Una voce poco fa" (Rosina's Cavatina) is currently not that popular. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Il barbiere di Siviglia (The Barber of Seville), Act 1: "Una voce poco fa" (Rosina's Cavatina) by Eteri Lamoris, Tbilisi Symphony Orchestra having a BPM of 113 with a half-time of 56 BPM and a double-time of 226 BPM, we would consider this track to have a Moderato (at a moderate speed) tempo marking. Because of this, we believe that the song has an overall moderate tempo. The time signature for this track is 4/4.
E Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmina Burana: Ecce gratum | Carl Orff, Anne Margrethe Dahl, Blazej Grek, Jan Wolanski, Artur Rubinstein Philharmonic Choir, Arthur Rubinstein Philharmonic Orchestra, Ilya Stupel | D Minor | 2 | 7A | 171 BPM | ||
Strauss, R: 4 Letzte Lieder: No. 3, Beim Schlafengehen | Richard Strauss, Lucia Popp, London Philharmonic Orchestra, Klaus Tennstedt | D♭ Major | 1 | 3B | 100 BPM | ||
Rossini: Guillaume Tell, Act 2 Scene 2: "Sombre forêt" (Mathilde) | Gioachino Rossini, Montserrat Caballé | A♭ Major | 1 | 4B | 74 BPM | ||
Le nozze di Figaro, K.492 / Act 3: "Che soave zeffiretto" | Wolfgang Amadeus Mozart, Kiri Te Kanawa, Lucia Popp, London Philharmonic Orchestra, Sir Georg Solti | B♭ Major | 1 | 6B | 135 BPM | ||
Gluck: Orphée et Eurydice, Act 3: "J'ai perdu mon Eurydice" (Orphée) | Christoph Willibald Gluck, Susan Graham, Harry Bicket, Orchestra of the Age of Enlightenment | E Minor | 1 | 9A | 79 BPM | ||
Carmina Burana / I. Primo vere: "Omnia Sol temperat" | Carl Orff, Dietrich Fischer-Dieskau, Orchester der Deutschen Oper Berlin, Eugen Jochum | B♭ Major | 0 | 6B | 76 BPM | ||
Violin Concerto in D Major, Op. 61 (Cadenzas by Vasa Prihoda): III. Rondo (Allegro) | Ludwig van Beethoven, Alexander von Pitamic, Southgerman Philharmonic Orchestra, Ivan Czerkov | D Major | 1 | 10B | 82 BPM | ||
Gato | Eteri Lamoris, Eduardo Grossenstein | C Major | 5 | 8B | 105 BPM | ||
Fidelio op.72 - Edited Helga Lühning & Robert Didio / Act 1: O welche Lust | Ludwig van Beethoven, Juan Sebastian Acosta, Levente Pall, Arnold Schoenberg Chor, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Claudio Abbado | B♭ Major | 0 | 6B | 100 BPM | ||
The Magic Flute, K. 620: Act II, No. 15. Aria: "In diesen heli'gen Hallen kennt man die Rache nicht" | Rundfunkorchester des Südwestfunks Baden-Baden | E Major | 1 | 12B | 94 BPM |
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