Giacomo Puccini, Angela Gheorghiu, Antonio Pappano, London Symphony Orchestra's 'Puccini: La rondine, Act 1: "Forse, come la rondine" (Prunier, Magda, Rambaldo, Ruggero, Bianca)' came out on January 4, 1997. With Puccini: La rondine, Act 1: "Forse, come la rondine" (Prunier, Magda, Rambaldo, Ruggero, Bianca) being less than a minute long, we are pretty confident that this song does not contain any foul language. That being said, this song is pretty short compared to other songs. There are a total of 48 in the song's album "Puccini: La Rondine". In this album, this song's track order is #10. Furthermore, we believe that the track originated from United Kingdom. Puccini: La rondine, Act 1: "Forse, come la rondine" (Prunier, Magda, Rambaldo, Ruggero, Bianca) is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Puccini: La rondine, Act 1: "Forse, come la rondine" (Prunier, Magda, Rambaldo, Ruggero, Bianca) by Giacomo Puccini, Angela Gheorghiu, Antonio Pappano, London Symphony Orchestra having a BPM of 64 with a half-time of 32 BPM and a double-time of 128 BPM, we would consider this track to have a Larghetto (rather broadly) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song is in the music key of C Minor. Which also means that the camelot key for this song is 5A. So, the perfect camelot match for 5A would be either 5A or 4B. While, a low energy boost can consist of either 5B or 6A. For moderate energy boost, you would use 2A and a high energy boost can either be 7A or 12A. However, if you are looking for a low energy drop, finding a song with a camelot key of 4A would be a great choice. Where 8A would give you a moderate drop, and 3A or 10A would be a high energy drop. Lastly, 8B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Candide / Act II: 16. Universal Good | Leonard Bernstein, London Symphony Chorus, London Symphony Orchestra | B♭ Major | 1 | 6B | 137 BPM | ||
Verdi: Il trovatore, Act 2: "Condotta ell'era in ceppi" (Azucena, Manrico) | Giuseppe Verdi, Antonio Pappano, Larissa Diadkova, Roberto Alagna, London Symphony Orchestra | A Minor | 1 | 8A | 88 BPM | ||
Le Nozze di Figaro, K. 492: Atto secondo. Scena 2. Recitativo La Contessa, Susanna, Cherubino "Bravo! che bella voce!" | Wolfgang Amadeus Mozart, Angelika Kirchschlager, Concerto Köln, Patrizia Ciofi, René Jacobs, Véronique Gens | D Minor | 1 | 7A | 81 BPM | ||
Rigoletto / Act 1: "Zitti, zitti...Soccorso, padre mio" | Giuseppe Verdi, Joan Sutherland, Sherrill Milnes, Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge | E♭ Major | 2 | 5B | 87 BPM | ||
Puccini: Tosca, Act 1: "Ah! Finalmente!" (Angelotti, Sacristan, Cavaradossi) | Giacomo Puccini, Franco Calabrese, Victor de Sabata, Orchestra Del Teatro Alla Scala, Milano | C Major | 2 | 8B | 111 BPM | ||
I Puritani / Act 1: Sai com'arde in petto mio | Vincenzo Bellini, Dame Joan Sutherland, Nicolai Ghiaurov, London Symphony Orchestra, Richard Bonynge | A Major | 2 | 11B | 140 BPM | ||
The Dream of Gerontius, Op. 38: No. 19, "Glory to Him" | Edward Elgar, Anne Sofie von Otter, London Symphony Orchestra, Sir Colin Davis | D Major | 0 | 10B | 84 BPM | ||
Carmen, Act IV, No.26 Marche et Choeur: Carmen, un bon conseil (Frasquita/Carmen/Mercédès) | Georges Bizet, Elisabeth Vidal, Michel Plasson, Wolff, Orchestre National Du Capitole De Toulouse | F Minor | 1 | 4A | 111 BPM | ||
Candide / Act II: 19. The Pilgrims' Procession / Alleluia | Leonard Bernstein, Della Jones, Jerry Hadley, Kurt Ollmann, London Symphony Chorus, London Symphony Orchestra | C Major | 2 | 8B | 135 BPM | ||
Beethoven: 25 Scottish Songs, Op. 108: No. 8, The Lovely Lass of Inverness | Ludwig van Beethoven, Ian Bostridge, Antonio Pappano, Nicolas Altstaedt, Vilde Frang | D Minor | 1 | 7A | 92 BPM |
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