Gaetano Donizetti, Dmitri Hvorostovsky, Philharmonia Orchestra, Ion Marin's 'L'elisir d'amore / Act 1: "Come Paride vezzoso"' came out on January 1, 1994. The duration of L'elisir d'amore / Act 1: "Come Paride vezzoso" is about 3 minutes long, at 3:08. Based on our data, "L'elisir d'amore / Act 1: "Come Paride vezzoso"" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. The song is number 7 out of 12 in Bel Canto Arias by Dmitri Hvorostovsky, Philharmonia Orchestra, Ion Marin. L'elisir d'amore / Act 1: "Come Paride vezzoso" 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.
The tempo marking of L'elisir d'amore / Act 1: "Come Paride vezzoso" by Gaetano Donizetti, Dmitri Hvorostovsky, Philharmonia Orchestra, Ion Marin is Adagio (slowly with great expression), since this song has a tempo of 73 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 is in the music key of F Major. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Lucia di Lammermoor / Act 2: "T'allontana sciagurato" | Gaetano Donizetti, Dame Joan Sutherland, Huguette Tourangeau, Luciano Pavarotti, Ryland Davies, Sherrill Milnes, Nicolai Ghiaurov, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | D Major | 4 | 10B | 86 BPM | ||
A Litany, Pt. 1 "Father of Heaven": Allegro dramatico | George Lloyd, Jeremy White, Guildford Choral Society, Philharmonia Orchestra | G Major | 3 | 9B | 131 BPM | ||
Una voce poco fa from Il Barbiere di Siviglia, '(The) Barber of Seville' | Maria Callas, Philharmonia Orchestra, Tullio Serafin | E Major | 1 | 12B | 136 BPM | ||
Orff: Carmina Burana, Pt. 2, In Taberna: Ego sum abbas Cucaniensis | Carl Orff, Riccardo Muti, Jonathan Summers, The Philharmonia Chorus, Philharmonia Orchestra | A♭ Major | 2 | 4B | 84 BPM | ||
Norma (1997 Digital Remaster), ACT 1, Scene 1: Me protegge, me difende un poter maggior di loro (Pollione) | Vincenzo Bellini, Franco Corelli, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin, Orchestra Del Teatro Alla Scala Di Milan | E♭ Major | 3 | 5B | 74 BPM | ||
Tannhäuser - Paris version / Act II: Dich, teure Halle, grüß ich wieder | Richard Wagner, Cheryl Studer, Philharmonia Orchestra, Giuseppe Sinopoli | G Major | 2 | 9B | 73 BPM | ||
Norma / Act 2 Scene 1: "Mira, O Norma" | Vincenzo Bellini, Sumi Jo, Cecilia Bartoli, Orchestra La Scintilla, Giovanni Antonini | F Major | 2 | 7B | 74 BPM | ||
La Wally (1997 Digital Remaster): Ebben?...Ne andrò lontana | Maria Callas, Tullio Serafin, Philharmonia Orchestra | C Major | 2 | 8B | 71 BPM | ||
Verdi: Macbeth, Act 1: "Nel dì della vittoria" - "Vieni t'affretta" (Lady Macbeth, Chorus) | Giuseppe Verdi, Maria Callas, The Philharmonia Chorus, Nicola Rescigno, Philharmonia Orchestra | F♯ Minor | 0 | 11A | 89 BPM | ||
Les Contes d'Hoffmann / Act 2: "Ils se sont éloignés, enfin!" | Jacques Offenbach, Plácido Domingo, Edita Gruberova, Orchestre National De France, Seiji Ozawa | G Minor | 0 | 6A | 74 BPM |