"Il Barbiere di Siviglia, Act I, Scene One: Ecco ridente in cielo (Conte)" by Gioachino Rossini, Alceo Galliera, Philharmonia Orchestra & Chorus, Luigi Alva was released on 1958. With this song being around four minutes long, at 4:09, 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 53 in the song's album "Rossini: Il Barbiere di Siviglia". In this album, this song's track order is #3. Based on our statistics, Il Barbiere di Siviglia, Act I, Scene One: Ecco ridente in cielo (Conte)'s popularity 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 Il Barbiere di Siviglia, Act I, Scene One: Ecco ridente in cielo (Conte) by Gioachino Rossini, Alceo Galliera, Philharmonia Orchestra & Chorus, Luigi Alva having a BPM of 130 with a half-time of 65 BPM and a double-time of 260 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 4/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
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 | ||
Morning, Noon and Night in Vienna | Franz von Suppé, Stefan Rachon Orchestra, Stefan Rachon | F Major | 2 | 7B | 80 BPM | ||
Overture to "A Midsummer Night's Dream", Op. 21: Tempo primo | Felix Mendelssohn, John Eliot Gardiner, London Symphony Orchestra | E Major | 0 | 12B | 140 BPM | ||
Die lustige Witwe (The Merry Widow) (2000 - Remaster): XIV. Lippen schweigen (Danilo/Hanna) | Franz Lehár, Eberhard Waechter/Elisabeth Schwarzkopf/Philharmonia Orchestra/Lovro von Matacic, Eberhard Waechter, Lovro Von Matacic, Philharmonia Orchestra | G Major | 1 | 9B | 85 BPM | ||
Die Meistersinger von Nürnberg, WWV 96 / Act 3: "Selig, wie die Sonne" | Richard Wagner, Norman Bailey, Hannelore Bode, René Kollo, Adolf Dallapozza, Julia Hamari, Wiener Philharmoniker, Sir Georg Solti | F♯ Major | 2 | 2B | 82 BPM | ||
La vie parisienne, Polka | Jacques Offenbach, Budapest Strauss Ensemble, Istvan Bogar | G Major | 4 | 9B | 105 BPM | ||
Roméo et Juliette, CG 9: "L'amour! l'amour! oui, son ardeur a troublé" | Charles Gounod, Benjamin Bernheim, PKF – Prague Philharmonia, Emmanuel Villaume | G Minor | 1 | 6A | 79 BPM | ||
Capriccio Espagnol, Op. 34: 1. Alborada | Nikolai Rimsky-Korsakov, Gothenburg Symphony Orchestra, Neeme Järvi | A Major | 3 | 11B | 137 BPM | ||
Rossini: Il barbiere di Siviglia, Act 2: Recitativo. "Ah! barbiere d'inferno" (Bartolo, Basilio) | Gioachino Rossini, James Levine, Renato Capecchi, Ruggero Raimondi, London Symphony Orchestra | G Major | 2 | 9B | 117 BPM | ||
Gayane Suite No. 2: VI. Sabre Dance | Aram Khachaturian, St. Petersburg State Symphony Orchestra, Andre Anichanov | E♭ Major | 8 | 5B | 91 BPM |
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