Franz Lehár, Graeme Ewer, National Philharmonic Orchestra, Richard Bonynge made "The Merry Widow / Act 3: Njegus's Aria: I was born by cruel fate" available on January 1, 1978. The duration of The Merry Widow / Act 3: Njegus's Aria: I was born by cruel fate is about two minutes long, specifically at 2:37. This song does not appear to have any foul language. The Merry Widow / Act 3: Njegus's Aria: I was born by cruel fate's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Franz Lehár, Joan Sutherland, Valerie Masterson, Regina Resnik, Werner Krenn, John Brecknock, National Philharmonic Orchestra, Richard Bonynge's "Léhar - The Merry Widow - Highlights" album is number 12 out of 14. The Merry Widow / Act 3: Njegus's Aria: I was born by cruel fate is not that popular right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
We consider the tempo marking of The Merry Widow / Act 3: Njegus's Aria: I was born by cruel fate by Franz Lehár, Graeme Ewer, National Philharmonic Orchestra, Richard Bonynge to be Andante (at a walking pace) because the track has a tempo of 88 BPM, a half-time of 44BPM, and a double-time of 176 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
D Major is the music key of this track. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Lehár: Giuditta, Tableau 4: "Meine Lippen, sie küssen so heiss" (Giuditta) | Franz Lehár, Lucia Popp, Sir Neville Marriner, Academy of St. Martin in the Fields | A Major | 1 | 11B | 79 BPM | ||
5 Lieder, Op. 49: IV. Wiegenlied | Johannes Brahms, Bernarda Fink, Roger Vignoles | E♭ Major | 2 | 5B | 89 BPM | ||
Serse, HWV 40, Act I: Frondi tenere e belle ... Ombra mai fù | George Frideric Handel, Dmitri Hvorostovsky, Academy of St. Martin in the Fields, Sir Neville Marriner | E♭ Major | 1 | 5B | 94 BPM | ||
Don Giovanni, K. 527, Act II Scene 10: Il mio tesoro intanto | Wolfgang Amadeus Mozart, Juan Diego Flórez, Riccardo Minasi | F Major | 3 | 7B | 112 BPM | ||
Un moto di gioia mi sento, K.579 | Wolfgang Amadeus Mozart, Edita Gruberova, Vienna Chamber Orchestra, György Fischer | D Major | 2 | 10B | 130 BPM | ||
Die tote Stadt, Op. 12: Mein Sehnen, mein Wähnen (Pierrot's Tanzlied) | Erich Wolfgang Korngold, Samuel Hasselhorn, Poznań Philharmonic Orchestra, Łukasz Borowicz | F Major | 1 | 7B | 129 BPM | ||
Gaite Parisienne (after J. Offenbach): 6. Allegro | Manuel Rosenthal, Monte-Carlo Philharmonic Orchestra | E Major | 2 | 12B | 144 BPM | ||
The Merry Widow (Die lustige Witwe) / Act 2: Weibermarsch | Franz Lehár, Heinz Hoppe, Benno Kusche, Grosses Operetten Orchester, Franz Marszalek | D Major | 5 | 10B | 118 BPM | ||
Vissi D'arte - Tosca Atto Ii | Renata Tebaldi | D♭ Major | 2 | 3B | 93 BPM | ||
The Gadfly, Op. 97: 3. Youth (Romance) | Dmitri Shostakovich, Erez Ofer, Philadelphia Orchestra, Riccardo Chailly | C Minor | 1 | 5A | 95 BPM |
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