Giacomo Puccini, Maria Callas, Orchestra Del Teatro Alla Scala, Milano, Victor de Sabata's 'Puccini: Tosca, Act 3 Scene 3: "Senti, l'ora è vicina" (Tosca, Cavaradossi)' came out on 1953. With Puccini: Tosca, Act 3 Scene 3: "Senti, l'ora è vicina" (Tosca, Cavaradossi) being less than two minutes long, at 1:30, 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 #24. Furthermore, we believe that the track originated from United Kingdom. Puccini: Tosca, Act 3 Scene 3: "Senti, l'ora è vicina" (Tosca, Cavaradossi) 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: "Senti, l'ora è vicina" (Tosca, Cavaradossi) by Giacomo Puccini, 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 | ||
Carmina Burana: In trutina | Carl Orff, Lucia Popp, Kurt Eichhorn | E♭ Minor | 1 | 2A | 62 BPM | ||
La Cenerentola: Overture (Sinfonia) | Gioachino Rossini, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | A Minor | 1 | 8A | 116 BPM | ||
Rinaldo / Act 2: Lascia ch'io pianga | George Frideric Handel, Cecilia Bartoli, Academy of Ancient Music, Christopher Hogwood | E Major | 1 | 12B | 176 BPM | ||
Norma / Act 1: Casta Diva | Vincenzo Bellini, Dame Joan Sutherland, Samuel Ramey, Chorus of the Welsh National Opera, Orchestra of the Welsh National Opera, Richard Bonynge | F Major | 1 | 7B | 67 BPM | ||
Die tote Stadt / Act 1: Glück, das mir verblieb (Mariettalied) | Erich Wolfgang Korngold, Renée Fleming, English Chamber Orchestra, Jeffrey Tate | B♭ Major | 1 | 6B | 88 BPM | ||
Chi Il Bel Sogno Di Doretta | Giacomo Puccini, Kiri Te Kanawa, London Philharmonic Orchestra, Sir John Pritchard | F Major | 2 | 7B | 101 BPM | ||
Le Nozze di Figaro, K. 492: Atto terzo. Scene 9 & 10. N.21 Duettino Susanna, La Contessa "Su l'aria..." | Wolfgang Amadeus Mozart, Concerto Köln, Patrizia Ciofi, René Jacobs, Véronique Gens | B♭ Major | 1 | 6B | 83 BPM | ||
Rusalka: Song to the Moon | Antonín Dvořák, Olga Peretyatko, Miguel Gomez-Martinez | F♯ Major | 2 | 2B | 89 BPM | ||
Turandot / Act 2: Popolo di Pekino | Giacomo Puccini, Sabin Markov, Wandsworth School Boys Choir, London Philharmonic Orchestra, Zubin Mehta | G Major | 1 | 9B | 76 BPM |
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