"Manon: Act II: Chiudo gli occhi" by Mirella Freni, Peter Maag, Luciano Pavarotti was released on 2008. The duration of Manon: Act II: Chiudo gli occhi is about two minutes long, specifically at 2:59. This song does not appear to have any foul language. Manon: Act II: Chiudo gli occhi's duration is considered a little bit shorter than the average duration of a typical track. There are a total of 47 in the song's album "Tenors - Pavarotti, Domingo, Carreras". In this album, this song's track order is #9. Based on our statistics, Manon: Act II: Chiudo gli occhi's popularity 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.
With Manon: Act II: Chiudo gli occhi by Mirella Freni, Peter Maag, Luciano Pavarotti having a BPM of 128 with a half-time of 64 BPM and a double-time of 256 BPM, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the BPM of this song, this song might go great with walking. The time signature for this track is 3/4.
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 | ||
---|---|---|---|---|---|---|---|
Samson et Dalila, Op. 47, R. 288 / Act II: "Mon coeur s'ouvre à ta voix" | Camille Saint-Saëns, Marilyn Horne, Wiener Opernorchester, Henry Lewis | D♭ Major | 3 | 3B | 174 BPM | ||
Carmen / Act 1: "Près des remparts de Séville" | Georges Bizet, Agnes Baltsa, José Carreras, Berliner Philharmoniker, Herbert von Karajan | D Major | 0 | 10B | 83 BPM | ||
Tristan und Isolde, WWV 90 / Act 3: Mild und leise wie er lächelt | Richard Wagner, Birgit Nilsson, Wiener Philharmoniker, Hans Knappertsbusch | C Major | 1 | 8B | 76 BPM | ||
Adriana Lecouvreur, Act I: Io son l'umile ancella | Francesco Cilea, Mirella Freni, Munich Radio Orchestra, Kurt Peter Eichhorn | A♭ Major | 1 | 4B | 88 BPM | ||
Eugene Onegin, Op. 24, TH 5 / Act II: "Kuda, kuda, kuda vi udalilis" | Pyotr Ilyich Tchaikovsky, Neil Shicoff, Orchestre de Paris, Semyon Bychkov | E Minor | 1 | 9A | 84 BPM | ||
Le nozze di Figaro, K.492 / Act 4: "Deh vieni, non tardar" | Wolfgang Amadeus Mozart, Dawn Upshaw, Metropolitan Opera Orchestra, James Levine | F Major | 0 | 7B | 97 BPM | ||
Turandot / Act 3: "Tu che di gel sei cinta" | Giacomo Puccini, Renata Tebaldi, Mario del Monaco, Coro dell'Accademia Nazionale Di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede | E♭ Minor | 2 | 2A | 89 BPM | ||
Tosca / Act 2: "Io tenni la promessa..." - "E qual via scegliete?" - "Tosca, finalmente mia!" | Giacomo Puccini, Sherrill Milnes, Mirella Freni, National Philharmonic Orchestra, Nicola Rescigno | D Major | 1 | 10B | 62 BPM | ||
Carmen: Act I: Quels regards! Quelle effronterie! | Georges Bizet, Franco Corelli, Mirella Freni, Herbert von Karajan | B♭ Minor | 1 | 3A | 78 BPM | ||
Wagner: Tannhäuser, Act 3: "Wie Todesahnung … O du, mein holder Abendstern" (Wolfram) | Richard Wagner, Dietrich Fischer-Dieskau, Orchester Der Staatsoper Berlin, Franz Konwitschny, Staatsopernorchester Berlin | C Minor | 3 | 5A | 133 BPM |
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