"Francesca da Rimini, Op. 4, Act I: Viene! Viene! Madonna Francesca" by Riccardo Zandonai, Kim-Lillian Strebel, Christina Vasileva, Opernchor des Theater Freiburg, Extrachor des Theater Freiburg, Vokalensemble der Hochschule für Musik Freiburg, Freiburger Kammerchor, Philharmonisches Orchester Freiburg, Fabrice Bollon had its release date on November 6, 2015. With This song being less than two minutes long, at 1:09, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. This song is part of Zandonai: Francesca da Rimini, Op. 4 by Riccardo Zandonai, Martin Mühle, Juan Orozco, Christina Vasileva, Philharmonisches Orchester Freiburg, Fabrice Bollon. The song's track number on the album is #8 out of 49 tracks. Based on our data, Germany was the country where this track was produced or recorded. Based on our statistics, Francesca da Rimini, Op. 4, Act I: Viene! Viene! Madonna Francesca's popularity 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.
Since Francesca da Rimini, Op. 4, Act I: Viene! Viene! Madonna Francesca by Riccardo Zandonai, Kim-Lillian Strebel, Christina Vasileva, Opernchor des Theater Freiburg, Extrachor des Theater Freiburg, Vokalensemble der Hochschule für Musik Freiburg, Freiburger Kammerchor, Philharmonisches Orchester Freiburg, Fabrice Bollon has a tempo of 132 beats per a minute, the tempo markings of this song would be Allegro (fast, quick, and bright). With Francesca da Rimini, Op. 4, Act I: Viene! Viene! Madonna Francesca being at 132 BPM, the half-time would be 66 BPM with a double-time of 264 BPM.In addition, we consider the tempo speed to be pretty fast for this song. This makes this song perfect for activities such as, walking. The time signature for this track is 4/4.
This song has a musical key of G Minor. Which also means that the camelot key for this song is 6A. So, the perfect camelot match for 6A would be either 6A or 5B. While, a low energy boost can consist of either 6B or 7A. For moderate energy boost, you would use 3A and a high energy boost can either be 8A or 1A. However, if you are looking for a low energy drop, finding a song with a camelot key of 5A would be a great choice. Where 9A would give you a moderate drop, and 4A or 11A would be a high energy drop. Lastly, 9B allows you to change the mood.
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| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| Francesca da Rimini / Act 3: "Paolo, datemi pace!" | Riccardo Zandonai, Mirella Freni, Orchestra Del Gran Teatro La Fenice, Roberto Abbado | D♭ Major | 1 | 3B | 86 BPM | ||
| Tosca, Act I: Mia gelosa! | Giacomo Puccini, Eleonora Buratto, Jonathan Tetelman, Orchestra dell'Accademia Nazionale di Santa Cecilia, Daniel Harding | E♭ Minor | 3 | 2A | 135 BPM | ||
| Carmen / Act 2: Final: "Holà! Carmen! Holà!" | Georges Bizet, Agnes Baltsa, José Carreras, Heinz Zednik, Gino Quilico, Alexander Malta, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris | G Major | 1 | 9B | 170 BPM | ||
| Mozart: Così fan tutte, K. 588, Act 1: Terzetto. "É la fede delle femmine" (Ferrando, Don Alfonso, Guglielmo) | Wolfgang Amadeus Mozart, Nikolaus Harnoncourt, Royal Concertgebouw Orchestra, Deon Van Der Walt, Gilles Cachemaille, Thomas Hampson | D Major | 0 | 10B | 113 BPM | ||
| Don Pasquale, Act II Quinta Scena: Pria di partir, signore (Ernesto/Pasquale/Malatesta/Norina) | Gaetano Donizetti, Gösta Winbergh/Sesto Bruscantini/Leo Nucci/Mirella Freni/Philharmonia Orchestra/Riccardo Muti, Riccardo Muti, Philharmonia Orchestra | C Major | 3 | 8B | 110 BPM | ||
| Humperdinck : Hänsel und Gretel : Act 1 "Doch halt, wo bleiben die Kinder?" [Father, Stepmother] | Engelbert Humperdinck, Donald Runnicles, Bavarian Radio Symphony Orchestra | F Major | 1 | 7B | 133 BPM | ||
| La Bohème / Act 3: "Mimì è tanto malata!" - Live | Giacomo Puccini, Anna Netrebko, Rolando Villazón, Boaz Daniel, Bavarian Radio Symphony Orchestra, Bertrand de Billy | D♭ Major | 3 | 3B | 76 BPM | ||
| Rossini: Petite messe solennelle: XII. Et vitam ventur saeculi | Gioachino Rossini, Antonio Pappano, Coro dell'Accademia Nazionale Di Santa Cecilia, Daniele Rossi, Orchestra dell'Accademia Nazionale di Santa Cecilia | D♭ Major | 4 | 3B | 93 BPM | ||
| Bolivar, Op. 236: Berceuse | Darius Milhaud, Orchestre De La Société Des Concerts Du Conservatoire, Janine Micheau | B Minor | 2 | 10A | 84 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 | ||
| Bellini: I puritani: "All’erta!" (Bruno, Coro) | Vincenzo Bellini, Dresdner Philharmonie, Riccardo Frizza | D Major | 5 | 10B | 136 BPM | ||
| The Dream of Gerontius, Op. 38, Part II: No. 3, My work is done (Angel) | Edward Elgar, Edward Gardner, London Philharmonic Orchestra, Jamie Barton | D Major | 2 | 10B | 86 BPM | ||
| Un ballo in maschera / Act 1: "Finisci il vaticinio" | Giuseppe Verdi, Plácido Domingo, Elena Obraztsova, Ruggero Raimondi, Giovanni Foiani, Renato Bruson, Luigi De Corato, Edita Gruberova, Orchestra Del Teatro Alla Scala, Milano, Claudio Abbado, Coro Del Teatro Alla Scala Di Milano, Romano Gandolfi | B♭ Minor | 1 | 3A | 78 BPM | ||
| Conchita: Arangi delle Canarie | Riccardo Zandonai, Lisa Houben, David Banos Marin, Camilla Antonini, Gabriela Aleo, Filippo Arlia, Orchestra Filarmonica della Calabria, Francesco Costa, Coro Lirico Siciliano | D♭ Major | 2 | 3B | 139 BPM | ||
| Verdi: La forza del destino, Act 1: "Me pellegrina ed orfana" (Donna Leonora) | Giuseppe Verdi, Riccardo Muti, Mirella Freni, Orchestra Del Teatro Alla Scala, Milano | G Major | 1 | 9B | 78 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 | ||
| Francesca da Rimini, Op. 4, Act III, Scene 6: Agitato e più mosso - No, Smaragdi, no! (Francesca) | Riccardo Zandonai, Wiener Symphoniker, Fabio Luisi, Elena Filipova | D♭ Major | 0 | 3B | 76 BPM | ||
| Humperdinck : Hänsel und Gretel : Act 3 "Mir ist so wohl, ich weiss nicht wie!" [Gretel, Hänsel] | Engelbert Humperdinck, Donald Runnicles, Bavarian Radio Symphony Orchestra | A♭ Major | 0 | 4B | 116 BPM | ||
| La Gioconda, Op. 9: "Enzo Grimaldo, Principe di Santafior, che pensi?" | Amilcare Ponchielli, Jonas Kaufmann, Ludovic Tezier, Antonio Pappano, Orchestra of the Accademia di Santa Cecilia, Rome | F Minor | 0 | 4A | 167 BPM | ||
| Tosca, Act I: E sempre lava! – Angelus Domini nuntiavit Mariae – Che fai? | Giacomo Puccini, Jonathan Tetelman, Davide Giangregorio, Orchestra dell'Accademia Nazionale di Santa Cecilia, Daniel Harding | E♭ Minor | 3 | 2A | 135 BPM | ||
| Lucia di Lammermoor / Act 3: "Oh! qual funesto avvenimento!" | Gaetano Donizetti, Nicolai Ghiaurov, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | F♯ Minor | 2 | 11A | 81 BPM | ||
| Bizet: Carmen, Act 1: "Sur la place, chacun passe, chacun vient, chacun va" (Moralès, Dragons) | Georges Bizet, Sir Simon Rattle, Andrè Schuen, Berliner Philharmoniker, Chor des Deutschen Staatsoper | B♭ Major | 1 | 6B | 109 BPM | ||
| Giménez & Vives: El húsar de la guardia: "Un pobre nido" | Lisette Oropesa, Óliver Díaz, Orquesta Sinfonica de Madrid | B♭ Major | 1 | 6B | 127 BPM | ||
| Francesca da Rimini / Act 3: Ah, la parola che i miei occhi incontrano...E Galeotto | Riccardo Zandonai, Mario del Monaco, Magda Olivero, Monte-Carlo Philharmonic Orchestra, Nicola Rescigno | D♭ Minor | 2 | 12A | 66 BPM | ||
| Lucia di Lammermoor / Act 3: "Ah! cessate quel contento" | Gaetano Donizetti, Nicolai Ghiaurov, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge | G Major | 1 | 9B | 84 BPM |