"La Cenerentola / Act 1: "Una volta c'era un re"" by Gioachino Rossini, Teresa Berganza, Margherita Guglielmi, Laura Zannini, Ugo Trama, London Symphony Orchestra, Claudio Abbado was released on January 1, 1972. With this song being about 5 minutes long, at 4:42, "La Cenerentola / Act 1: "Una volta c'era un re"" by Gioachino Rossini, Teresa Berganza, Margherita Guglielmi, Laura Zannini, Ugo Trama, London Symphony Orchestra, Claudio Abbado is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. There are a total of 37 in the song's album "Rossini: La Cenerentola". In this album, this song's track order is #3. Furthermore, we believe that the track originated from Germany. The popularity of La Cenerentola / Act 1: "Una volta c'era un re" is currently 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 La Cenerentola / Act 1: "Una volta c'era un re" by Gioachino Rossini, Teresa Berganza, Margherita Guglielmi, Laura Zannini, Ugo Trama, London Symphony Orchestra, Claudio Abbado having a BPM of 174 with a half-time of 87 BPM and a double-time of 348 BPM, we would consider this track to have a Vivace (lively and fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 4/4.
This song is in the music key of F Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Hungarian Dance No.13 In D | Johannes Brahms, Wiener Philharmoniker, Claudio Abbado | D Major | 0 | 10B | 127 BPM | ||
Stabat Mater: 6. Vidit suum | Giovanni Battista Pergolesi, Margaret Marshall, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | F Minor | 0 | 4A | 138 BPM | ||
L'elisir d'amore / Act 1: "Quanto è bella" | Gaetano Donizetti, Luciano Pavarotti, Maria Casula, Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge | C Major | 2 | 8B | 80 BPM | ||
Il barbiere di Siviglia / Act 1: Questa bestia di soldato | Gioachino Rossini, Fernando Corena, Manuel Ausensi, Stefania Malagu, Nicolai Ghiaurov, Ugo Benelli, Teresa Berganza, Dino Mantovani, Orchestra del Teatro San Carlo di Napoli, Silvio Varviso | C Major | 4 | 8B | 120 BPM | ||
Fidelio op.72 - Edited Helga Lühning & Robert Didio / Act 2: Gott! - Welch Dunkel hier! | Ludwig van Beethoven, Jonas Kaufmann, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Claudio Abbado | A♭ Major | 0 | 4B | 83 BPM | ||
E' Strano... Follie... Sempre Libera - la Traviata Atto I | Renata Tebaldi | C Major | 2 | 8B | 74 BPM | ||
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
Adriana Lecouvreur: Poveri fiori (Act IV) | Francesco Cilea, Kiri Te Kanawa, Myung-Whun Chung, London Symphony Orchestra | D Minor | 0 | 7A | 87 BPM | ||
Massenet: Werther, Act 3: "Traduire ! Ah ! Bien souvent mon rêve s'envole" - "Pourquoi me réveiller, ô souffle du Printemps ?" (Werther) | Jules Massenet, Roberto Alagna, London Symphony Orchestra, Antonio Pappano | G Minor | 1 | 6A | 111 BPM | ||
Il bacio | Luigi Arditi, Edita Gruberova, Stuttgart Radio Symphony Orchestra, Kurt Peter Eichhorn | G Major | 1 | 9B | 173 BPM |
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