Giacomo Puccini, Giorgio Zancanaro, Piero de Palma, Orazio Mori, Philadelphia Orchestra, Riccardo Muti's 'Tosca / Act 2: "Ha più forte sapore" - "Spoletta è giunto"' came out on June 7, 1993. The duration of Tosca / Act 2: "Ha più forte sapore" - "Spoletta è giunto" is about two minutes long, specifically at 2:26. This song does not appear to have any foul language. Tosca / Act 2: "Ha più forte sapore" - "Spoletta è giunto"'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 40 in the song's album "Puccini: Tosca". In this album, this song's track order is #2. Furthermore, we believe that the track originated from Netherlands. Tosca / Act 2: "Ha più forte sapore" - "Spoletta è giunto" 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 Tosca / Act 2: "Ha più forte sapore" - "Spoletta è giunto" by Giacomo Puccini, Giorgio Zancanaro, Piero de Palma, Orazio Mori, Philadelphia Orchestra, Riccardo Muti 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 1/4.
This song is in the music key of E♭ Minor. Which also means that the camelot key for this song is 2A. So, the perfect camelot match for 2A would be either 2A or 1B. While, a low energy boost can consist of either 2B or 3A. For moderate energy boost, you would use 11A and a high energy boost can either be 4A or 9A. However, if you are looking for a low energy drop, finding a song with a camelot key of 1A would be a great choice. Where 5A would give you a moderate drop, and 12A or 7A would be a high energy drop. Lastly, 5B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Don Pasquale: Tornami a dir che m'ami | Angela Gheorghiu, Richard Armstrong, Roberto Alagna | A Major | 0 | 11B | 90 BPM | ||
Bizet: Carmen, WD 31, Act 1: "L'amour est un oiseau rebelle" (Carmen, Chorus) | Georges Bizet, Lorin Maazel, Orchestre National De France | D Major | 0 | 10B | 98 BPM | ||
Turandot, Act III: Nessun dorma (arr. for orchestra) | Anonymous , Giacomo Puccini, Sofia Philharmonic Orchestra, Emil Tabakov | D Major | 1 | 10B | 85 BPM | ||
La Cenerentola / Act 2: "Non più mesta" | Gioachino Rossini, William Matteuzzi, Cecilia Bartoli, Alessandro Corbelli, Enzo Dara, Michele Pertusi, Fernanda Costa, Gloria Banditelli, Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | E Major | 3 | 12B | 137 BPM | ||
Gianni Schicchi: Act I - "O mio babbino caro" | Czech Symphony Orchestra, Julian Bigg, Susan McCulloch | A♭ Major | 2 | 4B | 169 BPM | ||
'A vucchella | Francesco Paolo Tosti, Luciano Pavarotti, Orchestra del Teatro Comunale di Bologna, Anton Guadagno | F Major | 1 | 7B | 81 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 | ||
Carmen, WD 31 / Act 1: "L'amour est un oiseau rebelle" (Havanaise) | Georges Bizet, Tatiana Troyanos, John Alldis Choir, London Philharmonic Orchestra, Sir Georg Solti | G Major | 1 | 9B | 122 BPM | ||
Gianni Schicchi (Oper in 1 Akt) | Mirella Freni | A♭ Major | 2 | 4B | 174 BPM | ||
Dido and Aeneas: Dido's Lament | Jessye Norman | C Minor | 2 | 5A | 89 BPM |
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