"Tosca / Act 1: "Ah, quegli occhi..." - "Qual occhio al mondo può star di paro"" by Giacomo Puccini, Mirella Freni, Plácido Domingo, Philharmonia Orchestra, Giuseppe Sinopoli was released on 1976. Tosca / Act 1: "Ah, quegli occhi..." - "Qual occhio al mondo può star di paro" is about six minutes long, preciously at 5:34, making this song fairly long compared to other songs. There are a total of 31 in the song's album "Puccini: Tosca". In this album, this song's track order is #5. Furthermore, we believe that the track originated from Germany. In terms of popularity, Tosca / Act 1: "Ah, quegli occhi..." - "Qual occhio al mondo può star di paro" is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Tosca / Act 1: "Ah, quegli occhi..." - "Qual occhio al mondo può star di paro" by Giacomo Puccini, Mirella Freni, Plácido Domingo, Philharmonia Orchestra, Giuseppe Sinopoli having a BPM of 90 with a half-time of 45 BPM and a double-time of 180 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. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of C Minor. Which also means that the camelot key for this song is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Louise / Act 3: "Depuis le jour" | Gustave Charpentier, Renée Fleming, English Chamber Orchestra, Jeffrey Tate | G Major | 1 | 9B | 89 BPM | ||
La Bohème: Mi chiamano Mimi | Mirella Freni | D Major | 2 | 10B | 74 BPM | ||
Vier letzte Lieder, TrV 296: 2. September | Richard Strauss, Jessye Norman, Gewandhausorchester, Kurt Masur | D Major | 1 | 10B | 153 BPM | ||
La Rondine: Act III: Non maledire, ascolta (Magda, Ruggero) | Giacomo Puccini, Svetla Vassileva, Maya Dashuk, Fabio Sartori, Emanuele Giannino, Marzio Giossi, Fernando Luis Ciuffo, Giorgio Berrugi, Andrea Patucelli, Polina Volfson, Alessandra Meozzi, Annunziata Vestri, Puccini Festival Chorus, Puccini Festival Orchestra, Alberto Veronesi | F♯ Major | 4 | 2B | 83 BPM | ||
Manon Lescaut: Act IV: Sola, perduta, abbandonata | Giacomo Puccini, Lucienne van Deyck, Miriam Gauci, Donald George, Ludwig van Gijzegem, Kaludi Kaludov, Henk Lauwers, Marcel Rosca, Vicente Sardinero, BRT Philharmonic Chorus, Jaak Gregoor Choir, Belgian Radio and Television Philharmonic Orchestra, Alexander Rahbari | D Major | 0 | 10B | 83 BPM | ||
Casanova: Nuns' Chorus | Johann Strauss II, Dame Joan Sutherland, Ambrosian Light Opera Chorus, New Philharmonia Orchestra, Richard Bonynge | F♯ Major | 2 | 2B | 88 BPM | ||
Rossini : La Cenerentola : Act 2 "Non più mesta accanto al fuoco" [Cenerentola, Clorinda, Tisbe, Dandini, Magnifico, Chorus] | Gioachino Rossini, Carlo Rizzi, Orchestra of the Royal Opera House, Covent Garden | E Major | 2 | 12B | 127 BPM | ||
Orfeo ed Euridice, Wq. 30 / Act 3: "Che farò senza Euridice?" | Christoph Willibald Gluck, Teresa Berganza, Orchestra of the Royal Opera House, Covent Garden, Sir Alexander Gibson | C Major | 1 | 8B | 77 BPM | ||
Life and Works: Rusalka (Act I: Song to the Moon) | Sean Barrett | F♯ Major | 0 | 2B | 126 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 |
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