"Charpentier: Louise, Act 3: "Depuis le jour où je me suis donnée" ( Louise)" by Gustave Charpentier, Maria Callas, Georges Prêtre, French National Radio Orchestra was released on 1982. With this song being about 5 minutes long, at 4:47, "Charpentier: Louise, Act 3: "Depuis le jour où je me suis donnée" ( Louise)" by Gustave Charpentier, Maria Callas, Georges Prêtre, French National Radio Orchestra 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 song is number 11 out of 11 in Callas sings Great Arias from French Operas - Callas Remastered by Maria Callas. Charpentier: Louise, Act 3: "Depuis le jour où je me suis donnée" ( Louise) 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 Charpentier: Louise, Act 3: "Depuis le jour où je me suis donnée" ( Louise) by Gustave Charpentier, Maria Callas, Georges Prêtre, French National Radio Orchestra is Andante (at a walking pace), since this song has a tempo of 87 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
In Quelle Trine Morbide - Manon Lescaut Atto Ii | Renata Tebaldi | D♭ Major | 2 | 3B | 93 BPM | ||
Carmen (1997 - Remaster), Act I: La cloche a sonné....Dans l'air | Georges Bizet, Choeurs René Duclos/Choeurs d'Enfants Jean Pesneaud/Orchestre de l'Opéra National de Paris/Georges Prêtre, Georges Prêtre, Orchestre du Théâtre National de l'Opéra Paris, Orchestre de l'Opéra National de Paris, Paris Opera Orchestra | E Major | 1 | 12B | 82 BPM | ||
Rusalka, Op. 114 / Act 3: Mám, zlaté vlásky mám | Antonín Dvořák, Dana Buresova, Livia Aghova, Hana Minutillo, Franz Hawlata, Kühn Mixed Choir, Czech Philharmonic Orchestra, Sir Charles Mackerras | A Major | 2 | 11B | 135 BPM | ||
Impressions d'Italie: I. Serenade | Gustave Charpentier, Brussels Philharmonic, Herve Niquet | A Minor | 2 | 8A | 63 BPM | ||
Bellini: La sonnambula, Act 2: "Ah! non credea mirarti" (Amina) | Vincenzo Bellini, Diana Damrau, Gianandrea Noseda, Orchestra Teatro Regio Torino | C Major | 0 | 8B | 139 BPM | ||
Giordano: Andrea Chénier, Act 4: "Come un bel dì di maggio" (Andrea) | Umberto Giordano, Gabriele Santini, Franco Corelli, Orchestra Del Teatro Dell'Opera Di Roma | B Minor | 2 | 10A | 90 BPM | ||
Péchés de vieillesse / Vol. III: Tirana pour deux voix (Les amants de Séville) | Gioachino Rossini, Rolando Villazón, Cecilia Bartoli, Orchestra del Maggio Musicale Fiorentino, Marco Armiliato | D Minor | 2 | 7A | 94 BPM | ||
Charpentier, G.: Louise, Act 3 Scene 1: "Depuis le jour où je me suis donnée" (Louise) | Gustave Charpentier, Kiri Te Kanawa, Orchestra of the Royal Opera House, Covent Garden, Jeffrey Tate | G Major | 1 | 9B | 87 BPM | ||
Tosca / Act 2: "Vissi d'arte, vissi d'amore" | Giacomo Puccini, Mirella Freni, Samuel Ramey, Philharmonia Orchestra, Giuseppe Sinopoli | E♭ Major | 1 | 5B | 76 BPM | ||
Cavalleria rusticana: "Gli aranci olezzano sui verdi margini" | Pietro Mascagni, Orchestra Del Teatro Alla Scala, Milano, Herbert von Karajan, Coro Del Teatro Alla Scala Di Milano | A Major | 1 | 11B | 69 BPM |
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