Georges Bizet, Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado, Ambrosian Singers's 'Carmen, WD 31 / Act III: "C'est toi!" "C'est-moi!"' came out on January 1, 2000. Since Carmen, WD 31 / Act III: "C'est toi!" "C'est-moi!" is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The song is number 14 out of 29 in Bizet: Carmen; L'Arlésienne; Symphony No.1 by Georges Bizet, London Symphony Orchestra, Claudio Abbado. Going off of the ISRC code of this track, we detected that the origin of this track is from Germany. Based on our statistics, Carmen, WD 31 / Act III: "C'est toi!" "C'est-moi!"'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.
The tempo marking of Carmen, WD 31 / Act III: "C'est toi!" "C'est-moi!" by Georges Bizet, Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado, Ambrosian Singers is Allegro (fast, quick, and bright), since this song has a tempo of 147 BPM. With that information, we can conclude that the song has a fast tempo. This song can go great with jogging or cycling. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Grieg: Peer Gynt, Op. 23, Act 4: Prelude. Morning Mood | Edvard Grieg, Academy of St. Martin in the Fields, Sir Neville Marriner | E Major | 0 | 12B | 137 BPM | ||
Spartacus, Act III: Adagio of Spartacus and Phrygia (arr. Y. Grigorovich) [1968 Bolshoi Version] | Aram Khachaturian, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Michail Jurowski | E Major | 2 | 12B | 123 BPM | ||
Symphony No. 7 in A Major, Op. 92: IV. Allegro con brio | Ludwig van Beethoven, Nicolaus Esterhazy Sinfonia, Béla Drahos | A Major | 3 | 11B | 146 BPM | ||
Le docteur Miracle: Scene 12: Quid?… Charlatan, le podestat que voici (Doucteur Miracle, Veronique, Le Podestat, Laurette) | Ludovic Halévy, Georges Bizet, Leon Battu, Marie-Bénédicte Souquet, Isabelle Druet, Jerome Billy, Pierre-Yves Pruvot, Orchestre Lyrique de Region Avignon-Provence, Samuel Jean | C Major | 1 | 8B | 115 BPM | ||
Mendelssohn: Violin Concerto in E Minor, Op. 64, MWV O14: III. Allegretto non troppo - Allegro molto vivace | Felix Mendelssohn, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | E Major | 2 | 12B | 161 BPM | ||
Symphonie fantastique, Op. 14, H 48: V. Songe d'une nuit de sabbat | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 60 BPM | ||
Scheherazade: The Tale of the Kalendar Prince | Nikolai Rimsky-Korsakov, Joakim Svenheden | B Minor | 1 | 10A | 62 BPM | ||
Don Quixote, Op. 35: Theme - Don Quixote, the Knight of the Sorrowful Countenance | Richard Strauss, Fritz Reiner | F Major | 0 | 7B | 63 BPM | ||
7 Variations on an original theme, Op. 9, J. 55: Andante | Carl Maria von Weber, Michael Endres | F Major | 0 | 7B | 121 BPM | ||
Symphony No. 45 in F-Sharp Minor, Hob.I:45, "Farewell": I. Allegro assai | Franz Joseph Haydn, Capella Istropolitana, Barry Wordsworth | F♯ Minor | 2 | 11A | 156 BPM |
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