Giacomo Puccini, Kiri Te Kanawa, Sir John Pritchard, London Philharmonic Orchestra's 'La Rondine: Chi il bel sogno di Doretta' came out on 1948. The duration of La Rondine: Chi il bel sogno di Doretta is about 3 minutes long, at 3:18. Based on our data, "La Rondine: Chi il bel sogno di Doretta" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 30 in the song's album "Puccini: Opera Arias and Love Songs". In this album, this song's track order is #16. Furthermore, we believe that the track originated from United States. Based on our statistics, La Rondine: Chi il bel sogno di Doretta's popularity is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With La Rondine: Chi il bel sogno di Doretta by Giacomo Puccini, Kiri Te Kanawa, Sir John Pritchard, London Philharmonic Orchestra having a BPM of 122 with a half-time of 61 BPM and a double-time of 244 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song is in the music key of D Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Roméo et Juliette, CG 9 / Act 1: "Ah, je veux vivre" | Charles Gounod, Renée Fleming, London Philharmonic Orchestra, Sir Charles Mackerras | C Major | 2 | 8B | 77 BPM | ||
Requiem, Op.48: Pie Jesu | Gabriel Fauré, Cecilia Bartoli, Orchestra dell'Accademia Nazionale di Santa Cecilia, Myung-Whun Chung, Coro dell'Accademia Nazionale Di Santa Cecilia, Roberto Gabbiani, Daniele Rossi | B♭ Major | 0 | 6B | 87 BPM | ||
Tosca / Act I: Mario! Mario! Mario! | Giacomo Puccini, Katia Ricciarelli, José Carreras, Berliner Philharmoniker, Herbert von Karajan | A♭ Major | 0 | 4B | 104 BPM | ||
Brahms: Symphony No. 3 in F Major, Op. 90: III. Poco allegretto | Johannes Brahms, London Philharmonic Orchestra, Ben Gernon | C Minor | 2 | 5A | 81 BPM | ||
Grande messe des morts, Op. 5, "Requiem": Hostias | Hector Berlioz, Michael Schade, Toronto Mendelssohn Choir, Toronto Mendelssohn Youth Choir, Elora Festival Orchestra, Noel Edison | B♭ Minor | 0 | 3A | 131 BPM | ||
Cavalleria rusticana: Intermezzo | Pietro Mascagni, Giacomo Aragall, Stefka Evstatieva, Anna di Mauro, Alžbeta Michálková, Eduard Tumagian, Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Alexander Rahbari | F Major | 0 | 7B | 82 BPM | ||
Piano Concerto No. 2 in C Minor, Op. 18: Adagio sostenuto | Eileen Joyce, London Philharmonic Orchestra, Erich Leinsdorf | E Major | 0 | 12B | 139 BPM | ||
Les Contes d'Hoffmann / Act 4: "Belle nuit, ô nuit d'amour" | Jacques Offenbach, Edita Gruberova, Claudia Eder, Orchestre National De France, Seiji Ozawa, Choeurs de Radio France | D Major | 1 | 10B | 101 BPM | ||
Rusalka, Op. 114 / Act 1: Mesicku na nebi hlubokém | Antonín Dvořák, Renée Fleming, Czech Philharmonic Orchestra, Sir Charles Mackerras | A♭ Major | 3 | 4B | 176 BPM | ||
Albinoni: Adagio in G Minor | Remo Giazotto, Tomaso Albinoni, London Philharmonic Orchestra, Ben Gernon | C Minor | 3 | 5A | 87 BPM |
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