"Cherubini: Medea, Act 2: "Figli miei, miei tesor" (Medea, Giasone)" by Luigi Cherubini, Maria Callas, Mirto Picchi, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin was released on 1958. Cherubini: Medea, Act 2: "Figli miei, miei tesor" (Medea, Giasone) is about six minutes long, preciously at 6:22, making this song fairly long compared to other songs. The song is number 22 out of 29 in Cherubini: Medea (1957 - Serafin) - Callas Remastered by Luigi Cherubini, Maria Callas. Cherubini: Medea, Act 2: "Figli miei, miei tesor" (Medea, Giasone) 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 Cherubini: Medea, Act 2: "Figli miei, miei tesor" (Medea, Giasone) by Luigi Cherubini, Maria Callas, Mirto Picchi, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin is Adagio (slowly with great expression), since this song has a tempo of 74 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Orontea: Intorno all'idol mio | Antonio Cesti, Cecilia Bartoli, György Fischer | E Minor | 0 | 9A | 104 BPM | ||
Elgar: Variations on an Original Theme, Op. 36, "Enigma": Theme (Andante) | Edward Elgar, London Symphony Orchestra, Sir Adrian Boult | G Minor | 1 | 6A | 178 BPM | ||
Shéhérazade, Op. 35: I. The Sea and Sinbad's Ship | Nikolai Rimsky-Korsakov, Sergej Galaktionov, Gianandrea Noseda, Filarmonica Teatro Regio Torino | E Major | 1 | 12B | 136 BPM | ||
De profundis | Antonio Salieri, West German Radio Chorus, West German Radio Symphony Orchestra, Helmut Froschauer | F Minor | 1 | 4A | 77 BPM | ||
Phaeton, Prologue - Le retour de l'Âge d'or: Ouverture | Jean-Baptiste Lully, Christophe Rousset, Chœur De Chambre De Namur, Les Talens Lyriques | B♭ Major | 3 | 6B | 128 BPM | ||
Grande Messe des Morts: XIII. Sequentia: Confutatis - Allegro molto | Francois-Joseph Gossec, Roberta Invernizzi, Maite Arruabarrena, Howard Crook, Claude Darbellay, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | G Minor | 2 | 6A | 84 BPM | ||
Sept mélodies, Op. 2: VI. Hébé | Ernest Chausson, Véronique Gens, Susan Manoff | A Minor | 0 | 8A | 80 BPM | ||
Boito: Mefistofele, Prologue: "Ave, Signor degli angeli e dei santi" (Falangi celesti) | Arrigo Boito, Ambrosian Opera Chorus, London Symphony Orchestra, Julius Rudel | E Major | 1 | 12B | 86 BPM | ||
Introduzione Glauce, le ancelle | Luigi Cherubini | C Major | 1 | 8B | 88 BPM | ||
Five Pieces For Two Violins and Piano: I. Prelude | Dmitri Shostakovich, Julian Rachlin, Janine Jansen, Yuri Bashmet, Mischa Maisky, Itamar Golan | G Major | 0 | 9B | 85 BPM |
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