"Ainsi tout enfant a le droit from Louise, Act III, Scene 1" by Gustave Charpentier, Plácido Domingo, Georges Prêtre, New Philharmonia Orchestra was released on 1976. Ainsi tout enfant a le droit from Louise, Act III, Scene 1 appears to be safe for all ages as it is not explicit. There are a total of 28 in the song's album "The Domingo Collection". In this album, this song's track order is #6. Ainsi tout enfant a le droit from Louise, Act III, Scene 1 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.
With Ainsi tout enfant a le droit from Louise, Act III, Scene 1 by Gustave Charpentier, Plácido Domingo, Georges Prêtre, New Philharmonia Orchestra having a BPM of 86 with a half-time of 43 BPM and a double-time of 172 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 3/4.
This song is in the music key of D Major. Or for those who are familiar with the camelot wheel, 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 | ||
---|---|---|---|---|---|---|---|
Si, Mi Chiamano Mimì - la Boheme Atto I | Renata Tebaldi | D Major | 2 | 10B | 80 BPM | ||
Lucrezia Borgia / Act 2: Era desso il figlio mio | Gaetano Donizetti, Renée Fleming, Coro del Maggio Musicale Fiorentino, Orchestra of St. Luke's, Patrick Summers | B♭ Minor | 1 | 3A | 98 BPM | ||
Vier Lieder, Op. 27, TrV 170: 4. Morgen | Richard Strauss, Renée Fleming, English Chamber Orchestra, Jeffrey Tate | G Major | 3 | 9B | 76 BPM | ||
Bizet: Carmen, WD 31, Act 1 Scene 10: No. 10, Séguedille et Duo, "Près des remparts de Séville" (Carmen, Don José) | Georges Bizet, Maria Callas, Nicolai Gedda, Orchestre de l'Opéra National de Paris, Georges Prêtre, Orchestre du Théâtre National de l'Opéra Paris, Paris Opera Orchestra | D Major | 1 | 10B | 83 BPM | ||
Puccini: Turandot, Act 1: "Signore ascolta!" (Liù) | Giacomo Puccini, Kiri Te Kanawa, Kent Nagano, Orchestre de l'Opéra de Lyon | D♭ Major | 0 | 3B | 92 BPM | ||
Don Pasquale / Act 1: "Bella siccome un angelo" | Gaetano Donizetti, Bryn Terfel, Metropolitan Opera Orchestra, James Levine | E Major | 2 | 12B | 107 BPM | ||
La vie du poete: Act I Scene 1, "Enthusiasm": Douce Lumiere (Chorus of Inner Voices, The Poet) | Gustave Charpentier, Sabine Devieilhe, Helena Bohuszewicz, Bernard Richter, Alain Buet, Flemish Radio Choir, Royal Symphonic Band of the Belgian Guides, Herve Niquet | C Major | 1 | 8B | 70 BPM | ||
Tannhäuser, WWV 70 / Act III: "Wie Todesahnung... O du mein holder Abendstern" | Richard Wagner, Bryn Terfel, Berliner Philharmoniker, Claudio Abbado | C Major | 1 | 8B | 104 BPM | ||
"Heia, heia, in den Bergen ist mein Heimatland" | Emmerich Kálmán, Anna Netrebko | C Minor | 4 | 5A | 72 BPM | ||
Les Contes d'Hoffmann (1989 Digital Remaster), Act I: Chanson et scène: Va pour Kleinzach! (Légende de Kleinzach: Hoffmann/Choeurs/Nathanaël) | Jacques Offenbach, Nicolai Gedda, André Cluytens, Orchestre De La Société Des Concerts Du Conservatoire | D Minor | 0 | 7A | 106 BPM |
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