"Manon Lescaut: Act I: Donna non vidi mai" by Giacomo Puccini, Giovanni Zenatello, Studio pianist was released on January 4, 2011. The duration of Manon Lescaut: Act I: Donna non vidi mai is about two minutes long, specifically at 2:42. This song does not appear to have any foul language. Manon Lescaut: Act I: Donna non vidi mai's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 23 in the song's album "The Harold Wayne Collection, Vol. 18 (1907-1911)". In this album, this song's track order is #3. Furthermore, we believe that the track originated from United Kingdom. Manon Lescaut: Act I: Donna non vidi mai is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Manon Lescaut: Act I: Donna non vidi mai by Giacomo Puccini, Giovanni Zenatello, Studio pianist having a BPM of 81 with a half-time of 40 BPM and a double-time of 162 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. 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 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Carmen (1997 - Remaster), Act I: Avec la garde montante | Georges Bizet, Nicolai Gedda, Georges Prêtre, Orchestre du Théâtre National de l'Opéra Paris, Orchestre de l'Opéra National de Paris, Paris Opera Orchestra | D Minor | 1 | 7A | 122 BPM | ||
Fiordiligi, Dorabella and Don Alfonso's Trio (Soave sia il vento) from Così fan tutte | Wolfgang Amadeus Mozart, Walter Weller, London Philharmonic Orchestra, Diana Montague, Orla Boylan, Alan Opie | E Major | 1 | 12B | 87 BPM | ||
Turandot / Act 3: Liù! Liù! Sorgi! Sorgi! | Giacomo Puccini, Nicolai Ghiaurov, Tom Krause, Pier Francesco Poli, Piero de Palma, John Alldis Choir, London Philharmonic Orchestra, Zubin Mehta | D♭ Major | 1 | 3B | 98 BPM | ||
Sadko: Song of the Indian Guest | Nikolai Rimsky-Korsakov, Vadim Lynkovsky, Maksim Paster, Anton Grigoriev, Bolshoi Theatre Chorus, Bolshoi Theatre Orchestra, Alexander Vedernikov | C Major | 0 | 8B | 107 BPM | ||
O tu che in seno agli Angeli | Mario del Monaco | D Major | 2 | 10B | 93 BPM | ||
Die tote Stadt / Act 1: Glück, das mir verblieb (Mariettalied) | Erich Wolfgang Korngold, Renée Fleming, English Chamber Orchestra, Jeffrey Tate | B♭ Major | 1 | 6B | 88 BPM | ||
Cilèa: L'Arlesiana, Act 2: "È la solita storia del pastore" (Federico) | Francesco Cilea, Rolando Villazón, Marcello Viotti, Munich Radio Orchestra, Muenchner Rundfunkorchester | A Minor | 1 | 8A | 168 BPM | ||
Delibes: Lakmé, Act 2: "Où va la jeune hindoue" (Lakmé) | Léo Delibes, Alain Lombard, Mady Mesple, Orchestre du Theatre National de IOpera-Comique | E Minor | 1 | 9A | 70 BPM | ||
La belle Hélène / Act 1: "Au Mont Ida, trois déesses" | Jacques Offenbach, Juan Diego Flórez, Orchestra del Teatro Comunale di Bologna, Roberto Abbado | F Major | 2 | 7B | 88 BPM | ||
Strauss, R: 4 Lieder, Op. 27: No. 4, Morgen! (Version with Orchestra) | Richard Strauss, Diana Damrau, Christian Thielemann, Munich Philharmonic Orchestra | G Major | 0 | 9B | 178 BPM |
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