Largo Al Factotum 5 - 16 mixes

  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/2
  • ISRC GB-FFM-15-34702
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/27
  • ISRC GB-FFM-15-34727
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/28
  • ISRC GB-FFM-15-34728
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/29
  • ISRC GB-FFM-15-34729
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/30
  • ISRC GB-FFM-15-34730
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/31
  • ISRC GB-FFM-15-34731
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/32
  • ISRC GB-FFM-15-34732
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/33
  • ISRC GB-FFM-15-34733
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/34
  • ISRC GB-FFM-15-34734
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/35
  • ISRC GB-FFM-15-34735
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/36
  • ISRC GB-FFM-15-34736
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/37
  • ISRC GB-FFM-15-34737
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/38
  • ISRC GB-FFM-15-34738
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/39
  • ISRC GB-FFM-15-34739
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/40
  • ISRC GB-FFM-15-34740
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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
  • Key C (ends in C)
  • Metre 6/8
  • Tempo 150 bpm (ends at 150)
  • Tempo Notes Fast
  • Album Number 2347/41
  • ISRC GB-FFM-15-34741
  • Publisher Audio Network Limited
  • Release Year 2015
Factoid Premiered 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

If you like Largo Al Factotum 5 you might also like