"Tosca, S. 69, IGP 17, Act II: "Vissi d'arte, vissi d'amore" (Tosca, Scarpia)" by Giacomo Puccini, Orchestra della Royal Opera House di Londra, Carlo Felice Cillario, Maria Callas was released on June 1, 1991. With this song being around four minutes long, at 3:30, 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 23 in the song's album "PUCCINI: TOSCA". In this album, this song's track order is #14. Furthermore, we believe that the track originated from Italy. Tosca, S. 69, IGP 17, Act II: "Vissi d'arte, vissi d'amore" (Tosca, Scarpia) is unknown right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Tosca, S. 69, IGP 17, Act II: "Vissi d'arte, vissi d'amore" (Tosca, Scarpia) by Giacomo Puccini, Orchestra della Royal Opera House di Londra, Carlo Felice Cillario, Maria Callas having a テンポ of 85 with a half-time of 42 テンポ and a double-time of 170 テンポ, 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 テンポ of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of E♭ Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Mattinata (Orch. Luck) | Ruggero Leoncavallo, Freddie De Tommaso, London Philharmonic Orchestra, Renato Balsadonna | B Major | 3 | 1B | 84 BPM | ||
Les Pecheurs De Perles: Je Crois Entendre Encore | Alfredo Kraus, Georges Bizet, Nicola Rescigno, Orquesta Manuel de Falla | A Minor | 1 | 8A | 81 BPM | ||
Swan Lake Suite, Op. 20: Scène | London Philharmonic Orchestra | E Minor | 3 | 9A | 77 BPM | ||
Fedora: Amor ti vieta | Umberto Giordano, Vittorio Grigolo, Pier Giorgio Morandi, Orchestra del Teatro Regio di Parma, Coro Del Teatro Regio Di Parma | C Major | 2 | 8B | 177 BPM | ||
Contes d'Hoffmann: Les oiseaux dans la charnille | Jacques Offenbach, Olga Peretyatko, Miguel Gomez-Martinez | B♭ Major | 2 | 6B | 96 BPM | ||
Norma, Акт I, Сцена 1: "Casta Diva" | Vincenzo Bellini, Ансамбль солистов Московской Государственной филармонии "Концертино", Андрей Корсаков, Виктор Козодов | A Major | 4 | 11B | 144 BPM | ||
Rhapsody on a Theme by Paganini, Op. 43: Variation 18. Andante cantabile | Sergei Rachmaninoff, Bella Davidovich, Royal Concertgebouw Orchestra, Neeme Järvi | D♭ Major | 1 | 3B | 70 BPM | ||
Die Entfuhrung Aus Dem Serail (Abduction From The Seraglio), K. 384: Final Chorus | Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Wolfgang Amadeus Mozart, C. F. Bretzner | D Minor | 4 | 7A | 72 BPM | ||
Turandot / Act 3: Tu che di gel sei cinta | Giacomo Puccini, Montserrat Caballé, Luciano Pavarotti, John Alldis Choir, London Philharmonic Orchestra, Zubin Mehta | E♭ Minor | 2 | 2A | 145 BPM | ||
La Rondine, Act I: Chi il bel sogno di Doretta | Giacomo Puccini, Giuseppe Adami, Marina Rebeka, Marco Boemi, Wrocław Opera Orchestra | E Major | 2 | 12B | 88 BPM |