"Easter Hymn (from Cavalleria Rusticana)" by The Accademia di Santa Cecilia Orchestra, Giulietta Simionato, The Accademia di Santa Cecilia Chorus, Tullio Serafin had its release date on August 13, 2013. With this song being around four minutes long, at 4:25, 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. The song is number 10 out of 20 in Chorus of the Hebrew Slaves: Greatest Opera Choruses by Various Artists. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. Easter Hymn (from Cavalleria Rusticana) is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Easter Hymn (from Cavalleria Rusticana) by The Accademia di Santa Cecilia Orchestra, Giulietta Simionato, The Accademia di Santa Cecilia Chorus, Tullio Serafin is Larghetto (rather broadly), since this song has a tempo of 64 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 5/4.
This song has a musical key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Norma (1997 - Remaster), Act II, Scene 3: Qual cor tradisti, qual cor perdesti (Coro/Norma/Pollione/Oroveso) | Vincenzo Bellini, Maria Callas, Franco Corelli, Nicola Zaccaria, Piero de Palma, Orchestra Del Teatro Alla Scala, Milano, Coro Del Teatro Alla Scala Di Milano, Noberto Mola, Tullio Serafin, Orchestra Del Teatro Alla Scala Di Milan | G Major | 2 | 9B | 96 BPM | ||
Lehar: Die lustige Witwe, IFL 12, Act 2: "Nun laßt uns aber wie dahein". "Es lebt' eine Vilja" (Viljalied)..."Mi velimo dase dase Veslimo!" [Hanna, Chor] | Franz Lehár, Philharmonia Orchestra, The Philharmonia Chorus, Lovro Von Matacic | G Major | 1 | 9B | 85 BPM | ||
Lohengrin, WWV 75 / Act III: "Mein lieber Schwan!" | Richard Wagner, Siegfried Jerusalem, Kurt Moll, Waltraud Meier, Cheryl Studer, Vienna State Opera Chorus, Peter Burian, Wiener Philharmoniker, Claudio Abbado | D Major | 1 | 10B | 117 BPM | ||
Bizet: Carmen: La cloche a sonne - Act One | Georges Bizet, Covent Garden Chorus | E Major | 2 | 12B | 58 BPM | ||
Carmen, WD 31 / Act 3: "Je dis que rien ne m'épouvante" | Georges Bizet, Kiri Te Kanawa, London Philharmonic Orchestra, Sir Georg Solti | D♭ Minor | 7 | 12A | 102 BPM | ||
Cavalleria rusticana: Part I: O Lola (Turiddu) | Pietro Mascagni, Maria Callas, Giuseppe Di Stefano, Rolando Panerai, Anna Maria Canali, Ebe Ticozzi, Vittore Veneziani, Milan La Scala Chorus, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin | F Major | 1 | 7B | 173 BPM | ||
Serse, HWV 40, Act I: Frondi tenere e belle ... Ombra mai fù | George Frideric Handel, Dmitri Hvorostovsky, Academy of St. Martin in the Fields, Sir Neville Marriner | E♭ Major | 1 | 5B | 94 BPM | ||
Carmen / Act 2: Chanson: "Les tringles des sistres tintaient" | Georges Bizet, Elina Garanca, Cristina Antoaneta Pasaroiu, Giuseppina Bridelli, Orchestra Sinfonica Nazionale Della RAI, Karel Mark Chichon | C Major | 1 | 8B | 111 BPM | ||
Manon Lescaut / Act 1: "Donna non vidi mai" | Giacomo Puccini, José Cura, Orchestra Del Teatro Alla Scala, Milano, Riccardo Muti | B♭ Major | 2 | 6B | 136 BPM | ||
La Vestale (1997 Digital Remaster): O nome tutelar | Tullio Serafin, Maria Callas, Orchestra Del Teatro Alla Scala, Milano | D Major | 1 | 10B | 86 BPM |