Tito Gobbi, Philharmonia Orchestra, Alceo Galliera made "Il Barbiere di Siviglia (1997 Digital Remaster): La ran la le ra, la ran la la. Largo al factotum" available on 2004. With this song being about 5 minutes long, at 4:43, "Il Barbiere di Siviglia (1997 Digital Remaster): La ran la le ra, la ran la la. Largo al factotum" by Tito Gobbi, Philharmonia Orchestra, Alceo Galliera is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. There is only one song in 100 Best Opera Classics, so we believe that "Il Barbiere di Siviglia (1997 Digital Remaster): La ran la le ra, la ran la la. Largo al factotum" is a single. Il Barbiere di Siviglia (1997 Digital Remaster): La ran la le ra, la ran la la. Largo al factotum is not that popular right now. The mood doesn't appear to be that danceable, but it still produces a high amount of positive energy.
The tempo marking of Il Barbiere di Siviglia (1997 Digital Remaster): La ran la le ra, la ran la la. Largo al factotum by Tito Gobbi, Philharmonia Orchestra, Alceo Galliera is Adagio (slowly with great expression), since this song has a tempo of 69 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song has a musical key of C Major. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Madame Butterfly: "Addio fiorito asil" | Mario del Monaco | D♭ Major | 4 | 3B | 88 BPM | ||
Carmen: Sur les remparts de Séville | Maria Callas | C Major | 3 | 8B | 80 BPM | ||
Minkus: La BayadŠre (Suite after the Ballet arranged by John Lanchbery): No. 8, Second Shade's Solo | Ludwig Minkus, Sydney Symphony Orchestra, John Lanchbery | G Major | 1 | 9B | 176 BPM | ||
Rigoletto / Act 2: Cortigiani, vil razza dannata (Rigoletto) | Giuseppe Verdi, Vladimir Chernov, Metropolitan Opera Orchestra, James Levine | D♭ Major | 2 | 3B | 86 BPM | ||
Maskerade-Suite: I. Waltz | Aram Khachaturian, Moscow Symphony Orchestra, Veronika Dudarova | C Major | 3 | 8B | 98 BPM | ||
Norma / Act 1: Casta Diva | Vincenzo Bellini, Dame Joan Sutherland, Samuel Ramey, Chorus of the Welsh National Opera, Orchestra of the Welsh National Opera, Richard Bonynge | F Major | 1 | 7B | 67 BPM | ||
Verdi: La Traviata, Act 3 Scene 4: No. 8, Aria "Addio del passato bei sogni ridenti" | Giuseppe Verdi, Maria Callas, Orquesta Sinfonica del Teatro Nacional de Santa Carlos, Lisboa, Franco Ghione, Orquestra Sinfónica do Teatro Nacional de São Carlos Lisboa | A Major | 1 | 11B | 76 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 | ||
Rigoletto, Act II: Compiuto pur quanto (Rigoletto/Gilda/Usciere/Monterone) | Giuseppe Verdi, Tito Gobbi, Maria Callas, Vittorio Tatozzi, Plinio Clabassi, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin, Orchestra Del Teatro Alla Scala Di Milan | A♭ Major | 3 | 4B | 108 BPM | ||
La traviata / Act 1: "Dell'invito trascorsa è già l'ora" | Giuseppe Verdi, Anna Netrebko, Helene Schneiderman, Herman Wallen, Salvatore Cordella, Rolando Villazón, Paul Gay, Wiener Philharmoniker, Carlo Rizzi, Vienna State Opera Chorus, Rupert Huber | A Major | 2 | 11B | 82 BPM |