"Verdi: Aida, Act 1: "Si, corre voce che I'Etiope ardisca" (Ramfis, Radamès)" by Giuseppe Verdi, Richard Tucker, Giuseppe Modesti, Orchestra del Teatro alla Scala di Milano, Tullio Serafin, Giuseppe Modesti, Orchestra Del Teatro Alla Scala, Milano, Richard Tucker, Tullio Serafin was released on 1956. With Verdi: Aida, Act 1: "Si, corre voce che I'Etiope ardisca" (Ramfis, Radamès) being less than two minutes long, at 1:32, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. This song is part of Verdi: Aida (1955 - Serafin) - Callas Remastered by Giuseppe Verdi, Maria Callas. The song's track number on the album is #2 out of 44 tracks. Based on our data, United Kingdom was the country where this track was produced or recorded. In terms of popularity, Verdi: Aida, Act 1: "Si, corre voce che I'Etiope ardisca" (Ramfis, Radamès) 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.
Since Verdi: Aida, Act 1: "Si, corre voce che I'Etiope ardisca" (Ramfis, Radamès) by Giuseppe Verdi, Richard Tucker, Giuseppe Modesti, Orchestra del Teatro alla Scala di Milano, Tullio Serafin, Giuseppe Modesti, Orchestra Del Teatro Alla Scala, Milano, Richard Tucker, Tullio Serafin has a tempo of 107 beats per a minute, the tempo markings of this song would be Andante (at a walking pace). With Verdi: Aida, Act 1: "Si, corre voce che I'Etiope ardisca" (Ramfis, Radamès) being at 107 BPM, the half-time would be 54 BPM with a double-time of 214 BPM.In addition, we consider the tempo speed to be pretty slow for this song. The time signature for this track is 3/4.
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 2B. So, the perfect camelot match for 2B would be either 2B or 3A. While, 3B can give you a low energy boost. For moderate energy boost, you would use 11B and a high energy boost can either be 4B or 9B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 2A or 1B will give you a low energy drop, 5B would be a moderate one, and 12B or 7B would be a high energy drop. Lastly, 11A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Aida: Act II: Marcia | Giuseppe Verdi, Maria Dragoni, Kristjan Johannsson, Barbara Dever, Mark Rucker, Francesco Ellero d' Artegna, Riccardo Ferrari, Antonio Marcenò, Monica Trini, Colin Mawby, RTÉ Philharmonic Choir, RTE Chamber Choir, Culwick Choral Society, Bray Choral Society, Dublin County Choir, Dun Laoghaire Choral Society, Cantabile Singers, Goethe Institut Choir, Musica Sacra, The Phoenix Singers, RTÉ National Symphony Orchestra, Irish Army No. 1 Band, Ricco Saccani | A♭ Major | 1 | 4B | 112 BPM | ||
La forza del destino / Act 3: "Urna fatale del mio destino" | Giuseppe Verdi, Ettore Bastianini, Eraldo Coda, Orchestra dell'Accademia Nazionale di Santa Cecilia, Francesco Molinari-Pradelli | A♭ Major | 2 | 4B | 77 BPM | ||
Werther: "Pourquoi me réveiller, ô souffle du printemps?" | Jules Massenet, Luciano Pavarotti, National Philharmonic Orchestra, Oliviero de Fabritiis | F♯ Minor | 2 | 11A | 156 BPM | ||
La Traviata / Act 2: "Che fai?" - "Nulla" | Giuseppe Verdi, Plácido Domingo, Ileana Cotrubas, Bavarian State Orchestra, Carlos Kleiber | F Major | 3 | 7B | 89 BPM | ||
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
L'elisir d'amore / Act II: "Una furtiva lagrima" | Gaetano Donizetti, Luciano Pavarotti, Metropolitan Opera Orchestra, James Levine | B♭ Minor | 1 | 3A | 87 BPM | ||
La Traviata · Oper in 3 Akten · Arien und Szenen in deutscher Sprache (2001 - Remaster), Zweiter Akt: - Mir zu folgen, gab ich ihm ein Zeichen [Invitato A Qui Seguirmi] | Francesco Maria Piave, Giuseppe Verdi, Melitta Muszely /Anneliese Müller/Karl Christian Kohn/Manfred Schmidt /Josef Metternich/Wilhelm Lang/Chor Der Deutschen Staatsoper/Orchester der Deutschen Staatsoper Berlin/Wilhelm Schüchter/Rudolf Schock/Walter Stoll, Wilhelm Schuechter, Wilhelm Schüchter, Orchester Der Deutschen Staatsoper Berlin | A♭ Minor | 3 | 1A | 76 BPM | ||
Rossini: Il Barbiere di Siviglia: La ran la le ra la ran la la ... Largo al factotum ... (Figaro) - 1996 Remaster | Gioachino Rossini, Beverly Sills, Nicolai Gedda, Sherrill Milnes, Renato Capecchi, Ruggero Raimondi, Michael Rippon, John Alldis Choir, Joseph Galiano, London Symphony Orchestra, James Levine, Fedora Barbieri | C Major | 4 | 8B | 75 BPM | ||
Symphony No. 9 in D Minor, Op. 125 "Choral": IV. Finale (Excerpt: Ode to Joy) | Ludwig van Beethoven, Riccardo Muti, Philadelphia Orchestra | D Major | 5 | 10B | 78 BPM | ||
Manon Lescaut: "Donna non vidi mai" | Giacomo Puccini, Luciano Pavarotti, National Philharmonic Orchestra, Oliviero de Fabritiis | B♭ Major | 2 | 6B | 83 BPM |
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