"Puccini: Tosca, Act 1: "Mario! Mario! Mario! Son qui!" (Tosca, Cavaradossi)" by Giacomo Puccini, Antonio Pappano, Angela Gheorghiu, Roberto Alagna, Orchestra of the Royal Opera House & Covent Garden was released on May 17, 2024. With Puccini: Tosca, Act 1: "Mario! Mario! Mario! Son qui!" (Tosca, Cavaradossi) being less than two minutes long, at 1:57, 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 59 in the song's album "Puccini: Tosca". In this album, this song's track order is #9. Furthermore, we believe that the track originated from United Kingdom. Puccini: Tosca, Act 1: "Mario! Mario! Mario! Son qui!" (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 1: "Mario! Mario! Mario! Son qui!" (Tosca, Cavaradossi) by Giacomo Puccini, Antonio Pappano, Angela Gheorghiu, Roberto Alagna, Orchestra of the Royal Opera House & Covent Garden having a BPM of 84 with a half-time of 42 BPM and a double-time of 168 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. The time signature for this track is 1/4.
This song is in the music key of D Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Sly: Un orso in musoliera | Ermanno Wolf-Ferrari, Roberto Alagna, Orchestra of the Royal Opera House, Covent Garden, Sir Mark Elder, London Voices | G Major | 1 | 9B | 101 BPM | ||
Don Pasquale, Act I Quinta Scena: Mi volete fiera? (Norina/Malatesta) | Gaetano Donizetti, Leo Nucci/Mirella Freni/Philharmonia Orchestra/Riccardo Muti, Riccardo Muti, Philharmonia Orchestra | A♭ Major | 2 | 4B | 130 BPM | ||
Lucia di Lammermoor / Act 2: "Ah! cedi, cedi" | Gaetano Donizetti, Dame Joan Sutherland, Nicolai Ghiaurov, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | B♭ Major | 2 | 6B | 87 BPM | ||
Carmen, Act II, No.17 Duo (continued...): Au quartier! pour l'appel (Carmen/Don José) | Georges Bizet, Angela Gheorghiu, Michel Plasson, Wolff, Orchestre National Du Capitole De Toulouse | G Minor | 2 | 6A | 89 BPM | ||
Madama Butterfly / Act 1: Viene la sera | Giacomo Puccini, Luciano Pavarotti, Mirella Freni, Christa Ludwig, Wiener Philharmoniker, Herbert von Karajan | A Major | 1 | 11B | 171 BPM | ||
Una voce poco fa from The Barber of Seville - Vocal | Gioachino Rossini, Ion Marin, Wiener Symphoniker | F Major | 0 | 7B | 65 BPM | ||
In Quelle Trine Morbide - Manon Lescaut Atto Ii | Renata Tebaldi | D♭ Major | 2 | 3B | 93 BPM | ||
Madame Butterfly - Grosser Querschnitt: Eines Tages seh'n wir uns wieder | Alfred Brüggemann, Giacomo Puccini, Giuseppe Giacosa, Luigi Illica, Anneliese Rothenberger, Giuseppe Patanè, Orchester der Deutschen Oper Berlin | B Minor | 7 | 10A | 112 BPM | ||
Chatterton - Che piu mi resta | Ruggero Leoncavallo, Roberto Alagna, Orchestra of the Royal Opera House, Covent Garden, Sir Mark Elder | E♭ Minor | 1 | 2A | 167 BPM | ||
Le Cid (1997 Digital Remaster): De cet affreux combat....Pleurez, mes yeux | Maria Callas, The Orchestra National De La Radiodiffusion Francaise, Georges Prêtre | B Minor | 1 | 10A | 83 BPM |
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