Coro del Gran Teatro Lírico de Bacelona, Fidela Campiña, Carlo Galeffi's 'Las Golondrinas, Escena final, I parte: "¡Era mío!"' came out on May 15, 1999. With this song being around four minutes long, at 4:02, 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 track order of this song in Various Artists's "Las Golondrinas" album is number 18 out of 20. On top of that, Spain appears to be the country where this track was created. Based on our statistics, Las Golondrinas, Escena final, I parte: "¡Era mío!"'s popularity 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.
We consider the tempo marking of Las Golondrinas, Escena final, I parte: "¡Era mío!" by Coro del Gran Teatro Lírico de Bacelona, Fidela Campiña, Carlo Galeffi to be Allegro (fast, quick, and bright) because the track has a tempo of 129 BPM, a half-time of 64BPM, and a double-time of 258 BPM. Based on that, the speed of the song's tempo is fast. Activities such as, walking, can go well with this song. The time signature for this track is 3/4.
E♭ Major is the music key of this track. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Cavalleria rusticana: Part I: Il cavallo scalpita (Alfio, Chorus, Lucia, Santuzza) | 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 | C Major | 3 | 8B | 116 BPM | ||
Lucia di Lammermoor, Act I: La pietade in suo favore | Gaetano Donizetti, Stefano Antonucci, Mariano Buccino, Coro del Teatro Carlo Felice di Genova, Orchestra del Teatro Carlo Felice di Genova, Andriy Yurkevych | G Major | 3 | 9B | 72 BPM | ||
Caro Nome - Live | André Rieu, Johann Strauss Orchestra, Micaëla Oeste | C Major | 10 | 8B | 127 BPM | ||
Donizetti: Lucia di Lammermoor, Act 1: "Quando rapito in estasi" (Lucia, Alisa) | Gaetano Donizetti, Maria Callas, Anna Maria Canali, Orchestra del Maggio Musicale Fiorentino, Tullio Serafin | D Major | 1 | 10B | 169 BPM | ||
Cendrillon: Faites-vous très belles | Jules Massenet, Philharmonia Orchestra, Julius Rudel | B♭ Major | 1 | 6B | 115 BPM | ||
Sogno | Francesco Paolo Tosti, Olindo Guerrini, Franco Vassallo, Giulio Zappa | A♭ Major | 2 | 4B | 69 BPM | ||
Iphigénie en Tauride, Wq. 46 (Excerpts): Patrie infortunée | Christoph Willibald Gluck, Munich Radio Orchestra, Lamberto Gardelli, Pilar Lorengar | G Major | 1 | 9B | 86 BPM | ||
Donizetti: Lucia di Lammermoor, Act 1: "Cruda, funesta smania" (Enrico, Normanno, Raimondo) | Gaetano Donizetti, Tito Gobbi, Gino Sarri, Orchestra del Maggio Musicale Fiorentino, Raffaele Arie, Tullio Serafin | D Major | 1 | 10B | 169 BPM | ||
Te Deum, WAB 45: III. Aeterna fac | Anton Bruckner, Bernard Haitink, Bavarian Radio Symphony Orchestra, Bavarian Radio Chorus | D Minor | 2 | 7A | 123 BPM | ||
Adriana Lecouvreur Act I, Scene 5: La dolcissima effigie | Francesco Cilea, Vittorio Grigolo, Pier Giorgio Morandi, Czech National Symphony Orchestra | F Major | 1 | 7B | 170 BPM |
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