Gaetano Donizetti, Valery Gergiev, Natalie Dessay, Piotr Beczala, Mariinsky Orchestra made "Lucia di Lammermoor, Act I, Scene II: No. 4c Moderato assai "Verranno a te"" available on July 25, 2011. With this song being around four minutes long, at 4:29, 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. The song is number 11 out of 33 in Donizetti: Lucia di Lammermoor by Gaetano Donizetti, Natalie Dessay, Valery Gergiev, Vladislav Sulimsky, Piotr Beczala, Ilya Bannik, Mariinsky Orchestra, Mariinsky Chorus. Going off of the ISRC code of this track, we detected that the origin of this track is from Russia. Lucia di Lammermoor, Act I, Scene II: No. 4c Moderato assai "Verranno a te" is not that popular right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
The tempo marking of Lucia di Lammermoor, Act I, Scene II: No. 4c Moderato assai "Verranno a te" by Gaetano Donizetti, Valery Gergiev, Natalie Dessay, Piotr Beczala, Mariinsky Orchestra is Adagio (slowly with great expression), since this song has a tempo of 74 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of C Major. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Op 34, N. 2: "Auf Flügeln des Gesanges" | Victoria de los Ángeles | A♭ Major | 1 | 4B | 138 BPM | ||
Julius Caesar, HWV 17, Act III Scene 1: Flow, my tears (Cleopatra) | George Frideric Handel, Sir Charles Mackerras, English National Opera Orchestra, Valerie Masterson | E Major | 0 | 12B | 72 BPM | ||
Tosca | Renata Tebaldi, Chorus and Orchestra of the Accademia di Santa Cecilia, Rome, Francesco Molinari-Pradelli | D Major | 2 | 10B | 112 BPM | ||
Carmen, WD 31 / Act 2: La fleur que tu m'avais jetée | Georges Bizet, Freddie De Tommaso, Philharmonia Orchestra, Paolo Arrivabeni | E♭ Major | 3 | 5B | 96 BPM | ||
Norma (1997 - Remaster), Act II, Scene 3: Deh! non volerli vittime (Coro/Norma/Pollione/Oroveso) | Vincenzo Bellini, Maria Callas, Franco Corelli, Nicola Zaccaria, Coro Del Teatro Alla Scala Di Milano, Noberto Mola, Tullio Serafin, Orchestra Del Teatro Alla Scala, Milano, Orchestra Del Teatro Alla Scala Di Milan | A Minor | 3 | 8A | 82 BPM | ||
Le nozze di Figaro, K.492 / Act 4: "Deh vieni, non tardar" | Wolfgang Amadeus Mozart, Dawn Upshaw, Metropolitan Opera Orchestra, James Levine | F Major | 0 | 7B | 97 BPM | ||
La Bohème / Act 1: "O soave fanciulla" | Giacomo Puccini, José Carreras, Katia Ricciarelli, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis | E Major | 2 | 12B | 81 BPM | ||
"Depuis le jour" | Gustave Charpentier, Anna Netrebko | G Major | 1 | 9B | 87 BPM | ||
La Cenerentola / Act 2: "Nacqui all'affanno e al pianto...Non più mesta" | Gioachino Rossini, Marilyn Horne, Orchestra of the Royal Opera House, Covent Garden, Henry Lewis | F Major | 1 | 7B | 125 BPM | ||
Adriana Lecouvreur: Act Ii L'anima Ho Stanca | Franco Corelli, Francesco Cilea, Orchestra Sinfonica Nazionale della RAI di Torino, Arturo Basile | B Minor | 4 | 10A | 101 BPM |
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