"Madama Butterfly / Act I: Ieri son salita tutta sola in segreto alla Missione" by Giacomo Puccini, Mirella Freni, Philharmonia Orchestra, Giuseppe Sinopoli was released on 1985. The duration of Madama Butterfly / Act I: Ieri son salita tutta sola in segreto alla Missione is about two minutes long, specifically at 2:17. This song does not appear to have any foul language. Madama Butterfly / Act I: Ieri son salita tutta sola in segreto alla Missione's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 34 in the song's album "Puccini: Madama Butterfly". In this album, this song's track order is #10. Furthermore, we believe that the track originated from Germany. Madama Butterfly / Act I: Ieri son salita tutta sola in segreto alla Missione 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 Madama Butterfly / Act I: Ieri son salita tutta sola in segreto alla Missione by Giacomo Puccini, Mirella Freni, Philharmonia Orchestra, Giuseppe Sinopoli having a BPM of 73 with a half-time of 36 BPM and a double-time of 146 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 5/4.
This song is in the music key of F♯ Minor. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Polovtsian Dances From "Prince Igor" | Alexander Borodin, Torgny Sporsen, Gothenburg Symphony Orchestra, Neeme Järvi, Gothenburg Symphony Choir | D Major | 1 | 10B | 103 BPM | ||
Offenbach: Les Contes d'Hoffmann, Act 4: "Belle nuit, ô nuit d'amour" (Barcarolle) [Nicklausse, Giulietta, Chorus] | Jacques Offenbach, Sylvain Cambreling, Ann Murray, Jessye Norman, Orchestre De L'Opéra National Du Théatre Royal De La Monnaie, Bruxelles | D Major | 1 | 10B | 81 BPM | ||
Turandot: Tu, che di gel sei cinta | Mirella Freni, Vienna Volksoper Orchestra, Argeo Quadri | B Major | 2 | 1B | 87 BPM | ||
The Flower Duet (From "Lakmé") | Katherine Jenkins, Kiri Te Kanawa, Philharmonia Orchestra, Anthony Inglis | B Major | 3 | 1B | 102 BPM | ||
Panis Angelicus | Franco Corelli | A Major | 1 | 11B | 66 BPM | ||
E' Strano... Follie... Sempre Libera - la Traviata Atto I | Renata Tebaldi | C Major | 2 | 8B | 74 BPM | ||
Rhapsody on a Theme by Paganini, Op. 43: Variation 18. Andante cantabile | Sergei Rachmaninoff, Bella Davidovich, Royal Concertgebouw Orchestra, Neeme Järvi | D♭ Major | 1 | 3B | 70 BPM | ||
La Sonnambula / Act 2: Ah, non credea mirarti | Vincenzo Bellini, Cecilia Bartoli, International Chamber Soloists, Orchestra La Scintilla, Ádám Fischer | A Minor | 1 | 8A | 109 BPM | ||
Rossini: Il barbiere di Siviglia, Act 1: "Largo al factotum" (Figaro) | Gioachino Rossini, Alceo Galliera, Tito Gobbi, Philharmonia Orchestra | G Major | 2 | 9B | 67 BPM | ||
L'ultima canzone | Francesco Paolo Tosti, Luciano Pavarotti, Philharmonia Orchestra, Piero Gamba | D Major | 2 | 10B | 72 BPM |
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