"La Bohème: Act I: Che gelida manina" by Giacomo Puccini, Plácido Domingo, Sir Georg Solti, London Philharmonic Orchestra was released on 1974. With this song being around four minutes long, at 4:26, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. There are a total of 37 in the song's album "Puccini: La Bohème - The Sony Opera House". In this album, this song's track order is #10. La Bohème: Act I: Che gelida manina 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 Bohème: Act I: Che gelida manina by Giacomo Puccini, Plácido Domingo, Sir Georg Solti, London Philharmonic Orchestra having a BPM of 85 with a half-time of 42 BPM and a double-time of 170 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 3/4.
This song is in the music key of A♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
La Traviata: Overture | André Rieu, Johann Strauss Orchestra | B Major | 2 | 1B | 123 BPM | ||
Turandot / Act 1: O giovinetto! Grazia, grazia! | Giacomo Puccini, Luciano Pavarotti, John Alldis Choir, London Philharmonic Orchestra, Zubin Mehta | B Major | 2 | 1B | 170 BPM | ||
Lakmé / Act 1: "Viens, Mallika, ... Dôme épais" (Flower Duet) | Léo Delibes, Dame Joan Sutherland, Jane Berbié, Orchestre National de l'Opéra de Monte-Carlo, Richard Bonynge | B Major | 1 | 1B | 84 BPM | ||
Die tote Stadt (The Dead City), Op. 12: Act I Scene 5: Gluck, das mir verblieb (Marietta, Paul) | Erich Wolfgang Korngold, Klaus Florian Vogt, Tatiana Pavlovskaya, Michael Nagy, Hedwig Fassbender, Anna Ryberg, Jenny Carlstedt, Julian Prégardien, Hans-Jurgen Lazar, Frankfurt Opera Chorus, Frankfurt Opera Children's Chorus, Frankfurt Opera and Museum Orchestra, Sebastian Weigle | B♭ Major | 1 | 6B | 83 BPM | ||
La Gioconda / Act 3: Dance of the Hours | Amilcare Ponchielli, National Philharmonic Orchestra, Bruno Bartoletti | E Major | 1 | 12B | 101 BPM | ||
4 Lieder, Op. 27: 4. Morgen! | Richard Strauss, Jessye Norman, Gewandhausorchester Leipzig, Kurt Masur | G Major | 0 | 9B | 81 BPM | ||
Carmina Burana / 3. Cour d'amours: "In trutina" | Carl Orff, Barbara Bonney, Wiener Philharmoniker, André Previn | B♭ Major | 2 | 6B | 137 BPM | ||
Cavalleria rusticana: Preludio | Pietro Mascagni, National Philharmonic Orchestra, Gianandrea Gavazzeni | F Major | 2 | 7B | 88 BPM | ||
Samson et Dalila, Op.47, R. 288 / Act 2: "Mon coeur s'ouvre à ta voix" | Camille Saint-Saëns, Olga Borodina, Orchestra of the Welsh National Opera, Carlo Rizzi | D♭ Major | 1 | 3B | 86 BPM | ||
Orontea: Intorno all'idol mio | Antonio Cesti, Cecilia Bartoli, György Fischer | E Minor | 0 | 9A | 104 BPM |
Section: 0.700575590133667
End: 0.7048594951629639