"Verdi: Otello, Act 4: "Ave Maria, piena di grazia" (Desdemona)" by Giuseppe Verdi, Maria Callas, Nicola Rescigno, Orchestre De La Société Des Concerts Du Conservatoire was released on March 5, 2007. With this song being about 5 minutes long, at 4:32, "Verdi: Otello, Act 4: "Ave Maria, piena di grazia" (Desdemona)" by Giuseppe Verdi, Maria Callas, Nicola Rescigno, Orchestre De La Société Des Concerts Du Conservatoire 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. The song is number 8 out of 13 in Favourite Callas by Maria Callas. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. Verdi: Otello, Act 4: "Ave Maria, piena di grazia" (Desdemona) 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 Verdi: Otello, Act 4: "Ave Maria, piena di grazia" (Desdemona) by Giuseppe Verdi, Maria Callas, Nicola Rescigno, Orchestre De La Société Des Concerts Du Conservatoire is Andante (at a walking pace), since this song has a tempo of 87 テンポ. With that information, we can conclude that the song has a slow tempo. This song can 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. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Samson et Dalila (1997 Digital Remaster): Mon coeur s'ouvre à ta voix. | Georges Prêtre, The Orchestra National De La Radiodiffusion Francaise, Maria Callas | D♭ Major | 1 | 3B | 81 BPM | ||
L'elisir d'Amor: Una furtiva lagrima | Carlo Bergonzi | F Minor | 3 | 4A | 63 BPM | ||
Verdi: La forza del destino: Overture to Act 1 | Giuseppe Verdi, Orchestra Del Teatro Alla Scala, Milano, Riccardo Muti | F Minor | 1 | 4A | 88 BPM | ||
Son tutta duolo | Alessandro Scarlatti, Cecilia Bartoli, György Fischer | G Minor | 0 | 6A | 92 BPM | ||
Julius Caesar, HWV 17, Act III Scene 1: Flow, my tears (Cleopatra) | George Frideric Handel, Sir Charles Mackerras, English National Opera Orchestra, Valerie Masterson | E Major | 0 | 12B | 72 BPM | ||
Carmina Burana / III. Cour d'amours: "In trutina" | Carl Orff, Gundula Janowitz, Orchester der Deutschen Oper Berlin, Eugen Jochum | G Major | 0 | 9B | 89 BPM | ||
Rusalka, Op. 114, B. 203 / Act 1: "Mesicku na nebi hlubokém" | Antonín Dvořák, Pilar Lorengar, Orchestra dell'Accademia Nazionale di Santa Cecilia, Giuseppe Patanè | F♯ Major | 1 | 2B | 100 BPM | ||
Turandot, Act I: Signore, ascolta! | Giacomo Puccini, Maria Callas, RAI Symphony Orchestra, Rome, Tullio Serafin | F♯ Major | 1 | 2B | 84 BPM | ||
Les Contes d'Hoffmann / Act 4: "Belle nuit, ô nuit d'amour" | Jacques Offenbach, Anne Sofie von Otter, Francisco Araiza, Cheryl Studer, MDR Leipzig Radio Chorus, Staatskapelle Dresden, Jeffrey Tate | G Major | 3 | 9B | 140 BPM | ||
La Bohème: Mi chiamano Mimi | Mirella Freni | D Major | 2 | 10B | 74 BPM |