"Eugene Onegin, Op. 24, Act I: Aria: Vi mnye pisali. Net otpiraites - Kogda bi zhizn domashnim krugon" by Pyotr Ilyich Tchaikovsky, Peter Mattei, Royal Stockholm Philharmonic Orchestra, Lawrence Renes was released on April 5, 2011. With this song being about 5 minutes long, at 5:05, "Eugene Onegin, Op. 24, Act I: Aria: Vi mnye pisali. Net otpiraites - Kogda bi zhizn domashnim krugon" by Pyotr Ilyich Tchaikovsky, Peter Mattei, Royal Stockholm Philharmonic Orchestra, Lawrence Renes 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 track order of this song in Peter Mattei, Lawrence Renes's "Mattei, Peter: Great Baritone Arias" album is number 12 out of 15. In terms of popularity, Eugene Onegin, Op. 24, Act I: Aria: Vi mnye pisali. Net otpiraites - Kogda bi zhizn domashnim krugon is currently not that popular. 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 Eugene Onegin, Op. 24, Act I: Aria: Vi mnye pisali. Net otpiraites - Kogda bi zhizn domashnim krugon by Pyotr Ilyich Tchaikovsky, Peter Mattei, Royal Stockholm Philharmonic Orchestra, Lawrence Renes to be Moderato (at a moderate speed) because the track has a tempo of 111 BPM, a half-time of 56BPM, and a double-time of 222 BPM. Based on that, the speed of the song's tempo is moderate. The time signature for this track is 4/4.
This song has a musical key of B♭ Major. This also means that 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 | ||
---|---|---|---|---|---|---|---|
Le roi de Lahore, Opera in five Acts: Entr'acte Act V & Adagio & Waltz, Ballet Act III | Jules Massenet, London Symphony Orchestra, Richard Bonynge | E♭ Major | 2 | 5B | 109 BPM | ||
Souvenir de Florence, Op. 70, TH 118: II. Adagio cantabile e con moto - Live from Verbier Festival / 2013 | Pyotr Ilyich Tchaikovsky, Leonidas Kavakos, Lisa Batiashvili, Antoine Tamestit, Blythe Teh Engstroem, Gautier Capuçon, Stephan Koncz | D Major | 1 | 10B | 89 BPM | ||
Lohengrin: Prelude | Richard Wagner, Slovak Philharmonic, Michael Halasz | A Major | 0 | 11B | 75 BPM | ||
Cello Concerto in E Minor, Op. 85: I. Adagio - Moderato | Edward Elgar, Sheku Kanneh-Mason, London Symphony Orchestra, Sir Simon Rattle | E Minor | 1 | 9A | 102 BPM | ||
St. Matthew Passion, BWV 244 / Part Two: "Erbarme dich" | Johann Sebastian Bach, Anne Sofie von Otter, Chicago Symphony Orchestra, Sir Georg Solti | B Minor | 1 | 10A | 93 BPM | ||
Carmen: Habanera - Instrumental | Andre Kostelanetz, New York Philharmonic | D Major | 2 | 10B | 136 BPM | ||
Le roi s'amuse: Pavane | Léo Delibes, Slovak Philharmonic, Ondrej Lenard | B♭ Major | 0 | 6B | 91 BPM | ||
Zdes' khorosho ('How Fair This Spot'), Op. 21, No. 7 | Sergei Rachmaninoff, Pablo Ferrandez, Denis Kozhukhin | A Major | 0 | 11B | 87 BPM | ||
Carmen Suite No. 1: 5. Les toréadors | Georges Bizet, Orchestre de Paris, Semyon Bychkov | F Major | 4 | 7B | 127 BPM | ||
Pelléas et Mélisande, Op.80: 3. Sicilienne | Gabriel Fauré, Academy of St. Martin in the Fields, Sir Neville Marriner | G Minor | 0 | 6A | 111 BPM |
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