Track Details

Largo Al Factotum 10 (30) - 16 mixes

  1. Play
    Largo Al Factotum 2347/2 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Classic operatic aria from The Barber of Seville for baritone & orchestra
    2:34
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    • Tempo NotesFast
    • ISRCGB-FFM-15-34702
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  2. Play
    Largo Al Factotum 2 2347/27 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Classic operatic aria broken into section for easy editing
    2:54
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    • Tempo NotesFast
    • ISRCGB-FFM-15-34727
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  3. Play
    Largo Al Factotum 3 2347/28 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Operatic aria from The Barber of Seville. Loud media mix
    2:34
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    • Tempo NotesFast
    • ISRCGB-FFM-15-34728
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  4. Play
    Largo Al Factotum 4 2347/29 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Cheerful orchestral instrumental from Barber of Seville. No singers
    2:22
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34729
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  5. Play
    Largo Al Factotum 5 2347/30 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Cheerful orchestral instrumental broken into sections for editors
    2:53
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34730
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at the Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  6. Play
    Largo Al Factotum 6 (60) 2347/31 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Classic operatic aria from The Barber of Seville for baritone & orchestra
    1:00
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34731
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  7. Play
    Largo Al Factotum 7 (60) 2347/32 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Cheerful orchestral instrumental from Barber of Seville. No singers
    1:00
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34732
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  8. Play
    Largo Al Factotum 8 (40) 2347/33 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Classic operatic aria from The Barber of Seville for baritone & orchestra
    0:40
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34733
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  9. Play
    Largo Al Factotum 9 (40) 2347/34 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Cheerful orchestral instrumental from Barber of Seville. No singers
    0:40
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34734
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiellon 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at the Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  10. Play
    Largo Al Factotum 10 (30) 2347/35 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Classic operatic aria from The Barber of Seville for baritone & orchestra
    0:30
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34735
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  11. Play
    Largo Al Factotum 11 (30) 2347/36 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Cantering orchestral instrumental from Barber of Seville. No singers
    0:30
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34736
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  12. Play
    Largo Al Factotum 12 2347/37 Rossini Arr. Jeff Meegan (BMI) | Julian Gallant (PRS) | David Tobin (PRS/BMI)
    Solo baritone singing 'Figaro' a few times
    0:13
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34737
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  13. 0:08
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34738
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  14. 0:07
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34739
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  15. 0:06
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34740
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  16. 0:05
    Add to favourites Add to cart
    • Tempo NotesFast
    • ISRCGB-FFM-15-34741
    • PublisherAudio Network Limited
    • Release Year2015
    FactoidPremiered in 1816, this aria from The Barber of Seville is considered one of the hardest in the baritone repertoire. Because it is so rubato, the only way of recording it is to have the singer with the orchestra and go for it. It can't be edited afterwards so we just chose our favourite take! When first performed the audience booed at The Barber of Seville because they thought it was stolen from the earlier opera Paisiello
  1. Play
    Deh Vieni Alla Finestra 1119/3 6 mixes Paul Mottram (PRS)
    Classic Italian operatic aria for tenor & string orchestra
    1:26
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  2. Play
    La Donna E Mobile 2347/14 16 mixes Verdi Arr. Julian Gallant (PRS) | David Tobin (PRS/BMI) | Jeff Meegan (BMI)
    Arrangement for orchestra & tenor of famous aria from Rigoletto (1851)
    2:18
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  3. Play
    Toreador 2347/6 18 mixes Bizet Arr. Julian Gallant (PRS) | David Tobin (PRS/BMI) | Jeff Meegan (BMI)
    Powerful baritone operatic aria from Carmen with orchestra & chorus (1875)
    2:28
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