"Francesca da Rimini, Act I: Come Morgana manda al re Artù (Live)" by Riccardo Zandonai, Orchestra Del Teatro Alla Scala, Milano, Enrico Campi, Gianandrea Gavazzeni had its release date on October 7, 2014. The duration of This song is about two minutes long, specifically at 2:07. This song does not appear to have any foul language. Francesca da Rimini, Act I: Come Morgana manda al re Artù (Live)'s duration is considered a little bit shorter than the average duration of a typical track. This song is part of Zandonai: Francesca da Rimini (Live) by Riccardo Zandonai, Magda Olivero, Mario del Monaco, Giampiero Malaspina, Piero de Palma, Orchestra Del Teatro Alla Scala, Milano, Coro La Scala di Milano, Gianandrea Gavazzeni, Enrico Campi, Gabriella Carturan, Athos Cesarini, Angelo Mercuriali, Giuseppe Morresi, Pinuccia Perotti, Anna Maria Rota. The song's track number on the album is #3 out of 39 tracks. Based on our data, United States was the country where this track was produced or recorded. Based on our statistics, Francesca da Rimini, Act I: Come Morgana manda al re Artù (Live)'s popularity 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.
Since Francesca da Rimini, Act I: Come Morgana manda al re Artù (Live) by Riccardo Zandonai, Orchestra Del Teatro Alla Scala, Milano, Enrico Campi, Gianandrea Gavazzeni has a tempo of 140 beats per a minute, the tempo markings of this song would be Allegro (fast, quick, and bright). With Francesca da Rimini, Act I: Come Morgana manda al re Artù (Live) being at 140 BPM, the half-time would be 70 BPM with a double-time of 280 BPM.In addition, we consider the tempo speed to be pretty fast for this song. This makes this song perfect for activities such as, jogging or cycling. The time signature for this track is 4/4.
This song has a musical 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.
Want to find the BPM and music key for other songs? Check out our BPM and Key Finder page!
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| Bellini: I puritani: "Odi! Qual suon si dta?" (Elvira, Giorgio, Coro) | Vincenzo Bellini, Dresdner Philharmonie, Riccardo Frizza | D Major | 5 | 10B | 136 BPM | ||
| Caballeria Rusticana: "Voi lo Sapete, o mamma" | Victoria de los Ángeles | E Minor | 2 | 9A | 87 BPM | ||
| La Cenerentola / Act 1: "Sì, tutto cangerà" | Gioachino Rossini, Michele Pertusi, Cecilia Bartoli, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | C Major | 1 | 8B | 126 BPM | ||
| Chopin: 17 Songs, Op. 74: No. 9, Melodia | Frédéric Chopin, Teresa Żylis-Gara, Halina Czerny-Stefanska | D Minor | 2 | 7A | 102 BPM | ||
| Verdi: La forza del destino, Act 1: "Temea restasse" (Curra, Donna Leonora) | Giuseppe Verdi, Riccardo Muti, Francesca Garbi, Mirella Freni, Orchestra Del Teatro Alla Scala, Milano | G Major | 0 | 9B | 99 BPM | ||
| Rigoletto / Act 1: Scena e Duetto. "Giovanna, ho dei rimorsi" (Gilda, Giovanna, Duca) | Giuseppe Verdi, Cheryl Studer, Metropolitan Opera Orchestra, James Levine | G Major | 2 | 9B | 82 BPM | ||
| Francesca da Rimini, Op. 4, Act II: Ah! Dove siamo noi? | Riccardo Zandonai, Christina Vasileva, Levente Molnár, Martin Mühle, Freiburger Kammerchor, Vokalensemble der Hochschule für Musik Freiburg, Extrachor des Theater Freiburg, Opernchor des Theater Freiburg, Philharmonisches Orchester Freiburg, Fabrice Bollon | D♭ Major | 3 | 3B | 83 BPM | ||
| Simon Boccanegra / Prologue: Oh, de'Fieschi implacata, orrida razza (Simone, Fiesco, Paolo, Pietro, Coro) | Giuseppe Verdi, Piero Cappuccilli, Nicolai Ghiaurov, José van Dam, Giovanni Foiani, Orchestra Del Teatro Alla Scala, Milano, Claudio Abbado, Coro Del Teatro Alla Scala Di Milano, Romano Gandolfi | A Minor | 3 | 8A | 102 BPM | ||
| Carmen / Act 1: Votre mère avec moi sortait de la chapelle | Georges Bizet, Katia Ricciarelli, José Carreras, Berliner Philharmoniker, Herbert von Karajan | B♭ Major | 0 | 6B | 129 BPM | ||
| Cavalleria rusticana: "Oh! Il Signore vi manda" (Duetto) | Pietro Mascagni, Fiorenza Cossotto, Gian Giacomo Guelfi, Orchestra Del Teatro Alla Scala, Milano, Herbert von Karajan | E Minor | 2 | 9A | 103 BPM | ||
| Lucia di Lammermoor / Act 3: Ohimè! Sorge il tremendo fantasma | Gaetano Donizetti, Nadine Sierra, Orchestra Sinfonica Nazionale della Rai, Riccardo Frizza | B Major | 3 | 1B | 86 BPM | ||
| La Boheme: Acto III: "Donde Lieta Usce" | Victoria de los Ángeles | D♭ Major | 1 | 3B | 98 BPM | ||
| Don Pasquale, Act I Terza Scena: Due parole ancor di volo (Ernesto/Pasquale) | Gaetano Donizetti, Gösta Winbergh, Sesto Bruscantini, Philharmonia Orchestra, Riccardo Muti | F Major | 2 | 7B | 73 BPM | ||
| Tosca, Act I: Qual occhio al mondo | Giacomo Puccini, Eleonora Buratto, Jonathan Tetelman, Orchestra dell'Accademia Nazionale di Santa Cecilia, Daniel Harding | E♭ Minor | 3 | 2A | 135 BPM | ||
| Gianni Schicchi: Nessuno sa che Buoso ha reso il fiato? | Giacomo Puccini, Leo Nucci, Colin Cue, Ewa Podles, Roberto Alagna, Ricardo Cassinelli, Barbara Frittoli, Barbara Guerrini, Giorgio Giorgetti, Enrico Fissore, Orazio Mori, Nicoletta Curiel, Coro Di Voci Bianchi "Guido Monaco" Di Prato, Coro del Maggio Musi | D Major | 0 | 10B | 81 BPM | ||
| Lucia di Lammermoor / Act 2: "Ebben? - Di tua speranza" | Gaetano Donizetti, Dame Joan Sutherland, Nicolai Ghiaurov, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | A Minor | 1 | 8A | 174 BPM | ||
| Falla: La vida breve, Act I: "Vivan los que rien!" (Salud, Paco, Chorus) | Manuel de Falla, Marianne Crebassa, Choeur Du Capitole De Toulouse, Stanislas de Barbeyrac, Ben Glassberg, Orchestre National Du Capitole De Toulouse | A Minor | 2 | 8A | 189 BPM | ||
| Macbeth / Act II: Va', spirto d'abisso! | Giuseppe Verdi, Shirley Verrett, Stefania Malagu, Piero Cappuccilli, Plácido Domingo, Alfredo Mariotti, Orchestra Del Teatro Alla Scala, Milano, Claudio Abbado, Coro Del Teatro Alla Scala Di Milano, Romano Gandolfi | E Major | 2 | 12B | 127 BPM | ||
| Messa di Gloria: Gratias agimus tibi | Giacomo Puccini, Gunnar Lundberg, Antonello Palombi, Hungarian Radio Chorus, Hungarian Operetta Orchestra, Pier Giorgio Morandi | F♯ Minor | 0 | 11A | 97 BPM | ||
| Concerto andaluso, RZ 227: II. Malagueñas. Allegretto | Riccardo Zandonai, Stefano Guarino, Orchestra da Camera di Trento, Giancarlo Guarino | A Minor | 1 | 8A | 90 BPM | ||
| Bellini: I puritani: "Caro, non ho parola ch’esprima il mio contento" (Elvira, Arturo) | Vincenzo Bellini, Dresdner Philharmonie, Riccardo Frizza | D Major | 5 | 10B | 136 BPM | ||
| Der fliegende Holländer, Act III: Willst jenen Tag du nicht dich mehr entsinnen "Cavatina" | Richard Wagner, René Kollo, Chicago Symphony Orchestra, Sir Georg Solti | A Major | 3 | 11B | 87 BPM | ||
| Die Entführung aus dem Serail / Act 1: "Wer ein Liebchen hat gefunden" - "Verwünscht seist du samt deinem Liede!" | Wolfgang Amadeus Mozart, Gösta Winbergh, Martti Talvela, Heinz Zednik, Wiener Philharmoniker, Sir Georg Solti | G Minor | 2 | 6A | 82 BPM | ||
| Les Contes d'Hoffmann / Act 1: "Drig, drig, drig, maître Luther" | Jacques Offenbach, Robin Leggate, Urban Malmberg, Kurt Rydl, Choeurs de Radio France, Jacques Jouineau, Orchestre National De France, Seiji Ozawa | C Major | 4 | 8B | 138 BPM | ||
| Andrea Chénier / Act 2: Ecco laggiù Gérard ... La donna che mi ha chiesto | Umberto Giordano, Giorgio Tadeo, Piero de Palma, Luciano Pavarotti, Leo Nucci, Tom Krause, Welsh National Opera Chorus, National Philharmonic Orchestra, Riccardo Chailly | B♭ Major | 3 | 6B | 92 BPM |