- BPM
- 72
- Key
- C Major
- Camelot
- 8B
Orfeo ed Euridice (Vienna version, 1762), Act III, Scene 1: Che farò senza Euridice? (Orfeo) - Agnes Baltsa, Riccardo Muti, Philharmonia Orchestra Information
- Acousticness
- 91%
- Danceability
- 14%
- Energy
- 19%
- Instrumentalness
- 0%
- Liveness
- 23%
- Loudness
- 73%
- Speechiness
- 5%
- Valence
- 6%
- Popularity
- 5%
- Loudness
- -16.278 dB
Summary
"Orfeo ed Euridice (Vienna version, 1762), Act III, Scene 1: Che farò senza Euridice? (Orfeo)" by Agnes Baltsa, Riccardo Muti, Philharmonia Orchestra was released on 2004. With this song being about 5 minutes long, at 5:27, "Orfeo ed Euridice (Vienna version, 1762), Act III, Scene 1: Che farò senza Euridice? (Orfeo)" by Agnes Baltsa, Riccardo Muti, Philharmonia Orchestra is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. There is only one song in 100 Best Opera Classics, so we believe that "Orfeo ed Euridice (Vienna version, 1762), Act III, Scene 1: Che farò senza Euridice? (Orfeo)" is a single. Orfeo ed Euridice (Vienna version, 1762), Act III, Scene 1: Che farò senza Euridice? (Orfeo) is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
Orfeo ed Euridice (Vienna version, 1762), Act III, Scene 1: Che farò senza Euridice? (Orfeo) BPM
The tempo marking of Orfeo ed Euridice (Vienna version, 1762), Act III, Scene 1: Che farò senza Euridice? (Orfeo) by Agnes Baltsa, Riccardo Muti, Philharmonia Orchestra is Adagio (slowly with great expression), since this song has a tempo of 72 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 5/4.
Orfeo ed Euridice (Vienna version, 1762), Act III, Scene 1: Che farò senza Euridice? (Orfeo) Key
C Major is the music key of this track. This also means that this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Recommendations
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
 | Il barbiere di Siviglia / Act 1: No.7 Duetto: "Dunque io son... tu non m'inganni?" | Gioachino Rossini, Thomas Allen, Agnes Baltsa, Academy of St. Martin in the Fields, Sir Neville Marriner | C Major | 1 | 8B | 86 BPM | |
 | La Gioconda / Act 4: Ecco il velen di Laura | Amilcare Ponchielli, Montserrat Caballé, Neil Jenkins, Geoffrey Shaw, Luciano Pavarotti, Agnes Baltsa, National Philharmonic Orchestra, Bruno Bartoletti | C Major | 1 | 8B | 87 BPM | |
 | Symphony No. 9 in D Minor, Op. 125 "Choral": IVa. Presto | Ludwig van Beethoven, Berliner Philharmoniker, Herbert von Karajan | D Major | 1 | 10B | 177 BPM | |
 | Vier letzte Lieder, TrV 296: 3. Beim Schlafengehen | Richard Strauss, Renée Fleming, Munich Philharmonic Orchestra, Christian Thielemann | D♭ Major | 1 | 3B | 66 BPM | |
 | Strauss, Johann II: Die Fledermaus, Act 2: "Ein Souper heut uns winkt" (Chor, Adele, Ida, Orlofsky, Falke, Eisenstein) | Johann Strauss II, Plácido Domingo, Agnes Baltsa, Bavarian Radio Chorus, Eva Lind, Peter Seiffert, Ulrike Steinsky, Wolfgang Brendel, Das Münchner Rundfunkorchester | E Major | 1 | 12B | 74 BPM | |
 | Orfeo ed Euridice (Viennese version, 1762) (1997 Digital Remaster), Scene 3: Trionfi Amore! (Orfeo/Coro/ Amore/Euridice) | Christoph Willibald Gluck, Agnes Baltsa, Riccardo Muti, Philharmonia Orchestra | D Major | 1 | 10B | 106 BPM | |
 | Hungarian Dance No.4 In F Sharp Minor | Johannes Brahms, Wiener Philharmoniker, Claudio Abbado | F♯ Minor | 2 | 11A | 80 BPM | |
| Orfeo ed Euridice (Viennese version, 1762) (1997 Digital Remaster), Scene 1: Ah! finisca e per sempre (Orfeo) | Christoph Willibald Gluck, Agnes Baltsa, Riccardo Muti, Philharmonia Orchestra | G Major | 0 | 9B | 86 BPM | |
 | I Capuleti e i Montecchi, Act I - Scene 1: Riedi al campo | Vincenzo Bellini, Gwynne Howell, Agnes Baltsa, Dano Raffanti, Chorus of the Royal Opera House, Covent Garden, Orchestra of the Royal Opera House, Covent Garden, Riccardo Muti, Orch.Of Royal Opera House Covent Garden | G Major | 1 | 9B | 77 BPM | |
| Strauss, Johann II: Die Fledermaus, Act 2: Lagunen-Walzer aus Eine Nacht in Venedig. "Ach, wie so herrlich zu schaun" (Caramello, Orlofsky, Chor) | Johann Strauss II, Plácido Domingo, Agnes Baltsa, Bavarian Radio Chorus, Das Münchner Rundfunkorchester | C Major | 1 | 8B | 79 BPM |
- ISRC
- This song does not have an ISRC.
- Label
- L-M Records/RCA Records
Section: 0.7238495349884033
End: 0.7291922569274902