"L'Assedio di Corinto: Giusto cie¡ In tal periglio" by Gioachino Rossini, Montserrat Caballé, Carlo Felice Cillario, Orchestra della RCA Italiana was released on 1991. With this song being around four minutes long, at 3:34, 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 track order of this song in Montserrat Caballé's "Montserrat Caballé, Diva Eterna" album is number 5 out of 24. L'Assedio di Corinto: Giusto cie¡ In tal periglio 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.
We consider the tempo marking of L'Assedio di Corinto: Giusto cie¡ In tal periglio by Gioachino Rossini, Montserrat Caballé, Carlo Felice Cillario, Orchestra della RCA Italiana to be Andante (at a walking pace) because the track has a tempo of 86 BPM, a half-time of 43BPM, and a double-time of 172 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
This song is in the music key of F♯ Minor. This also means that this song has a camelot key of 11A. So, the perfect camelot match for 11A would be either 11A or 10B. While, a low energy boost can consist of either 11B or 12A. For moderate energy boost, you would use 8A and a high energy boost can either be 1A or 6A. However, if you are looking for a low energy drop, finding a song with a camelot key of 10A would be a great choice. Where 2A would give you a moderate drop, and 9A or 4A would be a high energy drop. Lastly, 2B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Le barbier de Séville Largo al factotum - Instrumental Version | Arthur Fiedler, Boston Pops Orchestra | C Major | 4 | 8B | 77 BPM | ||
Symphony No. 5 in C Minor, Op. 67: III. Allegro | Ludwig van Beethoven, Wiener Philharmoniker, Carlos Kleiber | A♭ Major | 1 | 4B | 82 BPM | ||
Symphonie fantastique, Op. 14: Marche au supplice (Allegro non troppo) | Hector Berlioz, Swedish Radio Symphony Orchestra, Daniel Harding | B♭ Major | 2 | 6B | 147 BPM | ||
Peer Gynt Suite No.1 op. 46 Morning (Allegro pastorale) | Academy of St. Martin in the Fields | E Major | 0 | 12B | 68 BPM | ||
Carmen, Act IV, No.26 Marche et Choeur: Les voici! Voici le quadrille! (Choeurs/Enfants) | Georges Bizet, Choeur Les Elements, Orchestre National Du Capitole De Toulouse, Michel Plasson, Wolff | D♭ Minor | 2 | 12A | 93 BPM | ||
Stabat Mater: 10. Amen | Gioachino Rossini, Philharmonia Orchestra, Carlo Maria Giulini, Philharmonia Chorus, Heinz Mende, Roberto Benaglio | G Minor | 3 | 6A | 131 BPM | ||
Grieg: Peer Gynt (Incidental Music), Op. 23, Act 2: No. 8, In the Hall of the Mountain King | Edvard Grieg, Lucia Popp, Academy of St. Martin in the Fields, Sir Neville Marriner | B Minor | 1 | 10A | 105 BPM | ||
Stabat Mater: Cujus animam gementem | Gioachino Rossini, Lawrence Brownlee, Orchestra dell' Accademia Nazionale di Santa Cecilia, Roma, Antonio Pappano, Orchestra dell'Accademia Nazionale di Santa Cecilia | D Minor | 0 | 7A | 106 BPM | ||
Carmen Ballet Suite (after Bizet): IX. Torero | Rodion Shchedrin, Slovenian Symphony Orchestra, Anton Nanut | F Major | 5 | 7B | 115 BPM | ||
The Bartered Bride: Overture | Bedřich Smetana, BBC Symphony Orchestra, Jiří Bělohlávek | F Major | 2 | 7B | 145 BPM |
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