"Fausto, Ouverture" by Louise Bertin, Les Talens Lyriques, Christophe Rousset was released on January 26, 2024. Since Fausto, Ouverture is still less than 10 minute long, it is still considered a pretty long duration song compared to the average song length. This song does not appear to be explicit due to the lack of the "E" tag. The track order of this song in Louise Bertin, Les Talens Lyriques, Christophe Rousset, Flemish Radio Choir's "Louise Bertin: Fausto" album is number 1 out of 36. On top of that, Italy appears to be the country where this track was created. In terms of popularity, Fausto, Ouverture is currently unknown. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of Fausto, Ouverture by Louise Bertin, Les Talens Lyriques, Christophe Rousset to be Andante (at a walking pace) because the track has a tempo of 95 BPM, a half-time of 48BPM, and a double-time of 190 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.
This song is in the music key of D Major. 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 | ||
---|---|---|---|---|---|---|---|
Stabat Mater, Op. 58, B. 71: V. Tui nati vulnerati. Andante con moto quasi allegretto | Antonín Dvořák, Prague Symphony Orchestra, Prague Philharmonic Choir, Jiří Bělohlávek, Jaroslav Brych | G Major | 0 | 9B | 88 BPM | ||
Donizetti: Roberto Devereux, Act 1: "L'amor suo mi fe' beata" (Elisabetta) [Live] | Gaetano Donizetti, Maurizio Benini, Orchestra of the Royal Opera House, Covent Garden | B♭ Major | 1 | 6B | 106 BPM | ||
Armida, Atto primo Scena 3: Ecco l'onda insidiosa (Ubaldo, Ismene) | Antonio Salieri, Les Talens Lyriques, Christophe Rousset, Ashley Riches, Teresa Iervolino | B♭ Major | 1 | 6B | 125 BPM | ||
Rossini: Il barbiere di Siviglia, Act 1: "Chi è" (Figaro, Bartolo, Conte, Rosina, Berta, Basilio, Coro) | Gioachino Rossini, Maria Callas, Fritz Ollendorff, Gabriella Carturan, Luigi Alva, Nicola Zaccaria, Philharmonia Chorus, Tito Gobbi, Alceo Galliera, Philharmonia Orchestra | G Major | 3 | 9B | 115 BPM | ||
Lucia di Lammermoor, Act I: Cruda, funesta smania | Gaetano Donizetti, Stefano Antonucci, Didier Pieri, Mariano Buccino, Orchestra del Teatro Carlo Felice di Genova, Andriy Yurkevych | G Major | 3 | 9B | 72 BPM | ||
Die Entführung aus dem Serail, K. 384, Act II: Martern aller Arten - Remastered 2024 | Wolfgang Amadeus Mozart, Wilma Lipp, Wiener Philharmoniker, Josef Krips | B♭ Major | 1 | 6B | 96 BPM | ||
I Capuleti e i Montecchi: Oh! quante volte ti chiedo | Vincenzo Bellini, Hera Hyesang Park, Wiener Symphoniker, Bertrand de Billy | G Minor | 0 | 6A | 78 BPM | ||
La forza del destino, Act II, Scene I: Son Pereda, son ricco d'onore | Giuseppe Verdi, Coro del Teatro Carlo Felice di Genova, Orchestra del Teatro Carlo Felice di Genova, Valerio Galli | A Major | 2 | 11B | 116 BPM | ||
Misatango, Misa a Buenos Aires: VII. Et incarnatus est | MartÍn Palmeri, Chœur régional Vittoria d'Ile de France, Orchestre Pasdeloup, Michel Piquemal, Sophie Hanne, Gilberto Pereyra | F Minor | 2 | 4A | 86 BPM | ||
Prologue to Mefistofele: II. Instrumental Scherzo and Dramatic Intermezzo | Arrigo Boïto, Atlanta Symphony Orchestra, Robert Shaw, John Cheek | F Major | 1 | 7B | 80 BPM |
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