"Saint- Saëns: Samson et Dalila, Act 2: "Mon coeur s'ouvre à ta voix" (Dalila)" by Camille Saint-Saëns, Maria Callas, Georges Prêtre, French National Radio Orchestra was released on 1982. With this song being about 5 minutes long, at 5:20, "Saint- Saëns: Samson et Dalila, Act 2: "Mon coeur s'ouvre à ta voix" (Dalila)" by Camille Saint-Saëns, Maria Callas, Georges Prêtre, French National Radio 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. The song is number 7 out of 11 in Callas sings Great Arias from French Operas - Callas Remastered by Maria Callas. Saint- Saëns: Samson et Dalila, Act 2: "Mon coeur s'ouvre à ta voix" (Dalila) 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.
The tempo marking of Saint- Saëns: Samson et Dalila, Act 2: "Mon coeur s'ouvre à ta voix" (Dalila) by Camille Saint-Saëns, Maria Callas, Georges Prêtre, French National Radio Orchestra is Andante (at a walking pace), since this song has a tempo of 77 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
D♭ Major is the music key of this track. This also means that this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Samson et Dalila, Op. 47: Act III: Salut! Salut au juge d'Israel... | Camille Saint-Saëns, Hélène Bouvier, Charles Cambon, José Luccioni, Henri Medus, Paul Cabanel, Paris National Opera Chorus, Paris National Opera Orchestra, Louis Fourestier | E♭ Major | 2 | 5B | 113 BPM | ||
Donizetti: Lucia di Lammermoor, Act 3: "Il dolce suono ... Ardon gli incensi" (Lucia, Raimondo, Normanno, Chorus) | Gaetano Donizetti, Maria Callas, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Tullio Serafin | C Minor | 1 | 5A | 86 BPM | ||
Cantique de Jean Racine, Op. 11 | Gabriel Fauré, Laurence Equilbey, Accentus, Orchestre National De France | D♭ Major | 2 | 3B | 73 BPM | ||
Handel: Rinaldo, HWV 7, Act 2: Aria. "Lascia ch'io pianga" (Almirena) | George Frideric Handel, Claudio Scimone, I Solisti Veneti, Marilyn Horne | D Major | 1 | 10B | 87 BPM | ||
La Clemenza di Tito: Se mai senti spirarti sul volto | Christoph Willibald Gluck, Cecilia Bartoli, Akademie für Alte Musik Berlin, Bernhard Forck | D Major | 1 | 10B | 91 BPM | ||
Sposa, son disprezzata | Montserrat Caballé | F Minor | 1 | 4A | 106 BPM | ||
Satie / Orch. Debussy: 3 Gymnopédies: No. 1, Lent et douloureux | Erik Satie, Georges Prêtre, Orchestre National De France | G Major | 0 | 9B | 74 BPM | ||
Poulenc: Léocadia, FP 106: Les chemins de l'amour | Francis Poulenc, Sabine Devieilhe, Alexandre Tharaud | D♭ Major | 1 | 3B | 83 BPM | ||
Verdi: La Traviata, Act 3 Scene 4: No. 8, Aria "Addio del passato bei sogni ridenti" | Giuseppe Verdi, Maria Callas, Orquesta Sinfonica del Teatro Nacional de Santa Carlos, Lisboa, Franco Ghione, Orquestra Sinfónica do Teatro Nacional de São Carlos Lisboa | A Major | 1 | 11B | 76 BPM | ||
Prince Igor, Act II: Polovtsian Dances, Dance IV | Alexander Borodin, Choir of Mariinsky Theatre, Saint Petersburg, Paavo Järvi, Orchestre Philharmonique de Radio France | G Major | 3 | 9B | 105 BPM |
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