Jacques Offenbach, Jussi Björling, Orchestra, Nils Grevillius, Unidentified Orchestra made "Offenbach: La Belle Hélène, Act 1 Scene 7: Ronde, "Au mont Ida, trois déesses" (Pâris - Sung in Swedish)" available on February 15, 2003. The duration of Offenbach: La Belle Hélène, Act 1 Scene 7: Ronde, "Au mont Ida, trois déesses" (Pâris - Sung in Swedish) is about 3 minutes long, at 3:27. Based on our data, "Offenbach: La Belle Hélène, Act 1 Scene 7: Ronde, "Au mont Ida, trois déesses" (Pâris - Sung in Swedish)" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 44 in the song's album "The Very Best of Jussi Björling". In this album, this song's track order is #20. Offenbach: La Belle Hélène, Act 1 Scene 7: Ronde, "Au mont Ida, trois déesses" (Pâris - Sung in Swedish) is unknown right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
With Offenbach: La Belle Hélène, Act 1 Scene 7: Ronde, "Au mont Ida, trois déesses" (Pâris - Sung in Swedish) by Jacques Offenbach, Jussi Björling, Orchestra, Nils Grevillius, Unidentified Orchestra having a BPM of 70 with a half-time of 35 BPM and a double-time of 140 BPM, we would consider this track to have a Adagio (slowly with great expression) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 4/4.
This song is in the music key of B♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 6B. So, the perfect camelot match for 6B would be either 6B or 7A. While, 7B can give you a low energy boost. For moderate energy boost, you would use 3B and a high energy boost can either be 8B or 1B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 6A or 5B will give you a low energy drop, 9B would be a moderate one, and 4B or 11B would be a high energy drop. Lastly, 3A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
La Vierge / Scene 4: The Assumption: Le dernier sommeil de la Vièrge (The Last Sleep of the Virgin) | Jules Massenet, The New Symphony Orchestra Of London, Raymond Agoult | G Major | 1 | 9B | 82 BPM | ||
Samson et Dalila, Op. 47, R. 288 / Act 2: "Mon coeur s'ouvre à ta voix" | Camille Saint-Saëns, Grace Bumbry, Deutsches Symphonie-Orchester Berlin, Kulka János | E♭ Major | 2 | 5B | 89 BPM | ||
Also sprach Zarathustra, Op. 30: Sonnenaufgang | Richard Strauss, Fritz Reiner, Chicago Symphony Orchestra | C Major | 1 | 8B | 76 BPM | ||
Tritsch Tratsch - Galopp Polka, Op. 214 | Orchestra of the Viennese Volksoper & Alfred Scholz | A Major | 2 | 11B | 80 BPM | ||
Carmen, Opera Suite No. 2: VI. Danse Bohème (Act 2) | London Festival Orchestra Alfred Scholz | A Minor | 1 | 8A | 128 BPM | ||
Pictures At An Exhibition: Promenade | Modest Mussorgsky, Chicago Symphony Orchestra, Carlo Maria Giulini | A♭ Major | 0 | 4B | 87 BPM | ||
Mendelssohn: Violin Concerto No. 2 in E Minor, Op. 64: II. Andante | Felix Mendelssohn, Maxim Vengerov, Kurt Masur, Gewandhausorchester Leipzig | C Major | 1 | 8B | 96 BPM | ||
Waltz in A flat major, Op.39 No. 15 | Johannes Brahms, Radio Symphony Orchestra | A Major | 1 | 11B | 89 BPM | ||
Vremena Goda (The Seasons), Op. 67: Summer: Waltz of the Cornflowers and the Poppies | Alexander Glazunov, Slovak Radio Symphony Orchestra | D Major | 1 | 10B | 100 BPM | ||
Cavalleria Rusticana: Intermezzo | Pietro Mascagni, Czech Symphony Orchestra, Michaela Rózsa Růžičková | B♭ Major | 2 | 6B | 134 BPM |
Section: 0.5442347526550293
End: 0.5480804443359375