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ISRC

FRX290400850

Wahnsinnsszene des Orlando aus Orlando furioso, Akt II: "Io ti getto"

Song: Orlando Furioso, RV 728: Atto II. "Io ti getto" (Orlando)

Marie-Nicole LemieuxJean-Christophe SpinosiEnsemble Matheus
Released 2004-10-19

Last verified:

FRX290400850 is the International Standard Recording Code (ISRC) for the recording "Wahnsinnsszene des Orlando aus Orlando furioso, Akt II: "Io ti getto"" by Marie-Nicole Lemieux, Jean-Christophe Spinosi, Ensemble Matheus, released 2004-10-19. ISRCs are 12-character ISO 3901 identifiers that uniquely tag a specific sound recording — different masters, remixes, and live versions each receive a distinct ISRC.

Format

FRCountry
X29Registrant
04Year (2004)
00850Designation
Country:
ISO 3166-1 alpha-2 country code (FR).
Registrant:
3-character code identifying the label or distributor that assigned this ISRC.
Year (2004):
Last two digits of the reference year (2004). Years < 50 are 21st century.
Designation:
Unique 5-digit code assigned by the registrant for this specific recording.

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What is the ISRC for "Wahnsinnsszene des Orlando aus Orlando furioso, Akt II: "Io ti getto"" by Marie-Nicole Lemieux?
The ISRC for "Wahnsinnsszene des Orlando aus Orlando furioso, Akt II: "Io ti getto"" by Marie-Nicole Lemieux, Jean-Christophe Spinosi, Ensemble Matheus is FRX290400850.
What is an ISRC and what does it tell you?
An ISRC (International Standard Recording Code) is a 12-character ISO 3901 identifier that uniquely tags a specific sound recording. The first two characters are the country code, the next three are the registrant (label or distributor), the next two are the year, and the last five are a unique recording number.

What is ISRC FRX290400850?

FRX290400850 is an International Standard Recording Code (ISRC) that uniquely identifies the recording "Wahnsinnsszene des Orlando aus Orlando furioso, Akt II: "Io ti getto"" by Marie-Nicole Lemieux, Jean-Christophe Spinosi, Ensemble Matheus. ISRCs are 12-character alphanumeric codes defined by ISO 3901, used globally by streaming platforms, record labels, and rights organizations to track plays and distribute royalties.

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