"La Traviata: Act III: Parigi, o cara" by Giuseppe Verdi, Georges Prêtre, RCA Italiana Opera Orchestra was released on 1959. With this song being around four minutes long, at 4:23, 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. There are a total of 35 in the song's album "The Great Carlo Bergonzi". In this album, this song's track order is #13. In terms of popularity, La Traviata: Act III: Parigi, o cara is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With La Traviata: Act III: Parigi, o cara by Giuseppe Verdi, Georges Prêtre, RCA Italiana Opera Orchestra having a BPM of 90 with a half-time of 45 BPM and a double-time of 180 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. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 3/4.
This song is in the music key of A♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 4B. So, the perfect camelot match for 4B would be either 4B or 5A. While, 5B can give you a low energy boost. For moderate energy boost, you would use 1B and a high energy boost can either be 6B or 11B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 4A or 3B will give you a low energy drop, 7B would be a moderate one, and 2B or 9B would be a high energy drop. Lastly, 1A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in G Minor. Allegro (Orch. Schmeling) | Johannes Brahms, Wiener Philharmoniker, Claudio Abbado | G Minor | 2 | 6A | 145 BPM | ||
Fedora / Act 2: "Amor ti vieta" | Umberto Giordano, Luciano Pavarotti, National Philharmonic Orchestra, Oliviero de Fabritiis | C Major | 2 | 8B | 90 BPM | ||
Norma (1997 Digital Remaster): Casta Diva | Maria Callas, Tullio Serafin, Orchestra Del Teatro Alla Scala, Milano | F Major | 1 | 7B | 169 BPM | ||
Orfeo ed Euridice: "Act III, Scene 1, Orfeo: Che farò senza Euridice? " | Christoph Willibald Gluck, René Jacobs, Freiburger Barockorchester, RIAS Kammerchor | G Major | 1 | 9B | 71 BPM | ||
Rossini: Il barbiere di Siviglia, Act 1: "Largo al factotum" (Figaro) | Gioachino Rossini, Alceo Galliera, Tito Gobbi, Philharmonia Orchestra | G Major | 2 | 9B | 67 BPM | ||
Rinaldo / Act 2: Lascia ch'io pianga | George Frideric Handel, Cecilia Bartoli, Academy of Ancient Music, Christopher Hogwood | E Major | 1 | 12B | 176 BPM | ||
Rigoletto / Act 2: "Ella mi fu rapita...Parmi veder le lagrime" | Giuseppe Verdi, Jonas Kaufmann, Prague Philharmonic Orchestra, Marco Armiliato | D♭ Major | 1 | 3B | 89 BPM | ||
Bizet: Carmen, WD 31, Act 1 Scene 4: No. 5, Havanaise, "L'amour est un oiseau rebelle" (Carmen, Chorus) | Georges Bizet, Maria Callas, Orchestre de l'Opéra National de Paris, Georges Prêtre, Orchestre du Théâtre National de l'Opéra Paris | D Major | 1 | 10B | 134 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 | ||
L'ultima canzone | Francesco Paolo Tosti, Luciano Pavarotti, Philharmonia Orchestra, Piero Gamba | D Major | 2 | 10B | 72 BPM |
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