Jacques Offenbach, Riccardo Cassinelli, Francisco Araiza, Staatskapelle Dresden, Jeffrey Tate made "Les Contes d'Hoffmann / Act 2: "Là, charmante!"" available on January 1, 1992. With Les Contes d'Hoffmann / Act 2: "Là, charmante!" being less than two minutes long, at 1:37, 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. There are a total of 59 in the song's album "Offenbach: Les Contes d'Hoffmann". In this album, this song's track order is #13. Furthermore, we believe that the track originated from Netherlands. In terms of popularity, Les Contes d'Hoffmann / Act 2: "Là, charmante!" is currently not that popular. The overall tone is very danceable, especially with its high energy, which produces more of a euphoric, cheerful, or happy vibe.
With Les Contes d'Hoffmann / Act 2: "Là, charmante!" by Jacques Offenbach, Riccardo Cassinelli, Francisco Araiza, Staatskapelle Dresden, Jeffrey Tate having a BPM of 94 with a half-time of 47 BPM and a double-time of 188 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of E Minor. Which also means that the camelot key for this song is 9A. So, the perfect camelot match for 9A would be either 9A or 8B. While, a low energy boost can consist of either 9B or 10A. For moderate energy boost, you would use 6A and a high energy boost can either be 11A or 4A. However, if you are looking for a low energy drop, finding a song with a camelot key of 8A would be a great choice. Where 12A would give you a moderate drop, and 7A or 2A would be a high energy drop. Lastly, 12B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Ruslan and Ludmila: Overture | Mikhail Glinka, The USSR Bolshoy Theatre Orchestra, Yevgeny Svetlanov | F Major | 3 | 7B | 81 BPM | ||
Thaïs: Méditation (Arr. for Violin and Orchestra) | Jules Massenet, Joshua Bell, Nigel Hess, Royal Philharmonic Orchestra | D Major | 2 | 10B | 95 BPM | ||
Les Contes d'Hoffmann / Act 3: Frantz! ... C'est ici! | Jacques Offenbach, Michel Sénéchal, Plácido Domingo, Orchestre National De France, Seiji Ozawa | E Minor | 2 | 9A | 123 BPM | ||
The Bartered Bride, Act I Scene V: Introduction. Polka | Bedřich Smetana, Sir Charles Mackerras, Philharmonic Orchestra, The Royal Opera Chorus | C Major | 3 | 8B | 103 BPM | ||
Les Contes d'Hoffmann / Act 3: Qu'as-tu donc? | Jacques Offenbach, Michel Sénéchal, Plácido Domingo, Edita Gruberova, Hans Rudolf Stalder, James Morris, Orchestre National De France, Seiji Ozawa | C Minor | 1 | 5A | 64 BPM | ||
Offenbach: La belle Hélène, Act 2: "C'est le ciel qui m'envoie" (Hélène, Pâris) | Jacques Offenbach, Marc Minkowski, Felicity Lott, Yann Beuron, Les Musiciens du Louvre.Grenoble | E Major | 1 | 12B | 90 BPM | ||
Spanish Capriccio in A Major, Op. 34: III. Alborada. Vivo e strepitoso | Nikolai Rimsky-Korsakov, Czech Philharmonic Orchestra, Vladimír Válek | B♭ Major | 2 | 6B | 133 BPM | ||
String Quintet in E Major, Op. 13, No. 5: III. Minuetto | Luigi Boccherini, Lazar Gosman | A Major | 1 | 11B | 99 BPM | ||
Prince Igor, Act II: Polovtsian Dances, Dance II | Alexander Borodin, Choir of Mariinsky Theatre, Saint Petersburg, Paavo Järvi, Orchestre Philharmonique de Radio France | A Major | 1 | 11B | 75 BPM | ||
Tannhauser, Act III: Begluckt darf nun dich, o Heimat, ich schauen ("Pilgrims' Chorus") | Richard Wagner, Slovak Philharmonic Chorus, Slovak Radio Symphony Orchestra, Johannes Wildner | D Major | 4 | 10B | 129 BPM |
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