Gioachino Rossini, Teresa Berganza, Luigi Alva, Enzo Dara, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado's 'Il barbiere di Siviglia / Act I: "Largo al factotum" - "Ah, ah! che bella vita!" (Figaro / Figaro, Conte, Rosina, Bartolo)' came out on January 1, 1972. Il barbiere di Siviglia / Act I: "Largo al factotum" - "Ah, ah! che bella vita!" (Figaro / Figaro, Conte, Rosina, Bartolo) appears to be safe for all ages as it is not explicit. There are a total of 21 in the song's album "Rossini: Il Barbiere Di Siviglia". In this album, this song's track order is #4. Based on our statistics, Il barbiere di Siviglia / Act I: "Largo al factotum" - "Ah, ah! che bella vita!" (Figaro / Figaro, Conte, Rosina, Bartolo)'s popularity is below average in popularity right now. Although the overall vibe is very danceable, it does project more negative sounds.
With Il barbiere di Siviglia / Act I: "Largo al factotum" - "Ah, ah! che bella vita!" (Figaro / Figaro, Conte, Rosina, Bartolo) by Gioachino Rossini, Teresa Berganza, Luigi Alva, Enzo Dara, Hermann Prey, Theodor Guschlbauer, London Symphony Orchestra, Claudio Abbado having a BPM of 135 with a half-time of 68 BPM and a double-time of 270 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 C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
La Rosa del Azafrán: "Sagrario, Catalina, Lorenza y coro general" | Coros Cantores De Madrid, Teresa Berganza, Julita Bermejo | C Major | 3 | 8B | 75 BPM | ||
L'elisir d'amore / Act 2: "Una furtiva lagrima" | Gaetano Donizetti, Juan Diego Flórez, Riccardo Frizza, Orchestra Sinfonica di Milano Giuseppe Verdi | F Minor | 1 | 4A | 78 BPM | ||
Haydn: Cello Concerto No. 2 in D Major, Hob. VIIb:2: III. Rondo. Allegro | Joseph Haydn, Frédéric Lodéon, Theodor Guschlbauer, Bournemouth Sinfonietta | B♭ Major | 0 | 6B | 183 BPM | ||
La Traviata / Act 1: Libiamo ne'lieti calici | Giuseppe Verdi, Ileana Cotrubas, Plácido Domingo, Chor der Bayerischen Staatsoper München, Bavarian State Orchestra, Carlos Kleiber | B♭ Major | 2 | 6B | 113 BPM | ||
Romeo & Juliet: Act I, Scene XIII, Dance of the Knights | Sergei Prokofiev, Valery Gergiev, London Symphony Orchestra | C Major | 0 | 8B | 81 BPM | ||
Simon Boccanegra / Prologue: Che dicesti? (Paolo, Pietro, Simone, Coro) | Giuseppe Verdi, José van Dam, Giovanni Foiani, Piero Cappuccilli, Orchestra Del Teatro Alla Scala, Milano, Claudio Abbado, Coro Del Teatro Alla Scala Di Milano, Romano Gandolfi | D Major | 1 | 10B | 93 BPM | ||
La Cenerentola / Act 2: "Scusate, amici" | Gioachino Rossini, Alessandro Corbelli, Enzo Dara, William Matteuzzi, Fernanda Costa, Cecilia Bartoli, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | A Major | 2 | 11B | 139 BPM | ||
Pagliacci, Act I: "Recitar! Vesti la giubba" (Canio) | Ruggero Leoncavallo, Orchestra dell'Accademia Nazionale di Santa Cecilia, Francesco Molinari-Prandelli, Mario del Monaco | E Major | 2 | 12B | 89 BPM | ||
La Rosa del Azafrán: "Sagrario y Juan Pedro" | Coros Cantores De Madrid, Teresa Berganza, Manuel Ausensi | B♭ Major | 4 | 6B | 86 BPM | ||
Los Gavilanes: "Final: Nadie puede sorprendernos" | Coro Cantores de Madrid, Teresa Berganza, Tony Rosado, Manuel Ausensi, Carlos Munguia | A♭ Major | 2 | 4B | 126 BPM |
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