Giacomo Puccini, Giuseppe Di Stefano, Maria Callas, Orchestra Del Teatro Alla Scala, Milano, Victor de Sabata's 'Puccini: Tosca, Act 3 Scene 3: "Amaro sol per te m'era il morire" (Cavaradossi, Tosca)' came out on 1953. With Puccini: Tosca, Act 3 Scene 3: "Amaro sol per te m'era il morire" (Cavaradossi, Tosca) being less than two minutes long, at 1:54, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. There are a total of 44 in the song's album "Puccini : Tosca". In this album, this song's track order is #25. Furthermore, we believe that the track originated from United Kingdom. Puccini: Tosca, Act 3 Scene 3: "Amaro sol per te m'era il morire" (Cavaradossi, Tosca) 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 Puccini: Tosca, Act 3 Scene 3: "Amaro sol per te m'era il morire" (Cavaradossi, Tosca) by Giacomo Puccini, Giuseppe Di Stefano, Maria Callas, Orchestra Del Teatro Alla Scala, Milano, Victor de Sabata having a BPM of 88 with a half-time of 44 BPM and a double-time of 176 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 4/4.
This song is in the music key of B Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 1B. So, the perfect camelot match for 1B would be either 1B or 2A. While, 2B can give you a low energy boost. For moderate energy boost, you would use 10B and a high energy boost can either be 3B or 8B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 1A or 12B will give you a low energy drop, 4B would be a moderate one, and 11B or 6B would be a high energy drop. Lastly, 10A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Vocalise, Op. 34, No. 14 - Remastered | Sergei Rachmaninoff, Anna Moffo, Leopold Stokowski, American Symphony Orchestra | D Major | 1 | 10B | 100 BPM | ||
Norma / Act 1: Casta Diva | Vincenzo Bellini, Cecilia Bartoli, International Chamber Soloists, Orchestra La Scintilla, Ádám Fischer | F Major | 0 | 7B | 131 BPM | ||
Nessun Dorma! | Mario del Monaco | D Major | 2 | 10B | 88 BPM | ||
Sadko: Song of the Indian Guest | Nikolai Rimsky-Korsakov, Vadim Lynkovsky, Maksim Paster, Anton Grigoriev, Bolshoi Theatre Chorus, Bolshoi Theatre Orchestra, Alexander Vedernikov | C Major | 0 | 8B | 107 BPM | ||
L'Heure exquise | Reynaldo Hahn, Susan Graham | D♭ Major | 0 | 3B | 79 BPM | ||
Largo al factotum | Gioachino Rossini, Simon Keenlyside, Ulf Schirmer | C Major | 3 | 8B | 73 BPM | ||
Les Contes d'Hoffmann / Act 1: Les oiseaux dans la charmille | Jacques Offenbach, Dame Joan Sutherland, Jacques Charon, Chorus Pro Arte Lausanne Du Brassus, Radio Suisse Romande Chorus, Orchestre de la Suisse Romande, Richard Bonynge | A♭ Major | 1 | 4B | 136 BPM | ||
Vissi D'arte - Tosca Atto Ii | Renata Tebaldi | D♭ Major | 2 | 3B | 93 BPM | ||
MADAME BUTTERFLY · Oper in 3 Akten · Querschnitt in deutscher Sprache (inkl. Bonus mit Marcel Cordes), Erster Akt: - Bald sind wir auf der Höh' | Giacomo Puccini, Giuseppe Giacosa, Luigi Illica, Erna Berger/Frauenchor Der Städtischen Oper Berlin/Berliner Symphoniker/Wilhelm Schüchter, Wilhelm Schuechter, Wilhelm Schüchter, Berliner Symphoniker | G Major | 2 | 9B | 79 BPM | ||
In the Steppes of Central Asia | Alexander Borodin, Royal Philharmonic Orchestra, Vladimir Ashkenazy | A Major | 0 | 11B | 69 BPM |
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