"Cherubini: Medea, Act II: "Creonte a me solo un giorno dà?" (Medea, Neris, Giasone)" by Luigi Cherubini, Maria Callas, Fedora Barbieri, Gino Penno, Orchestra Del Teatro Alla Scala, Milano, Leonard Bernstein was released on 1999. The duration of Cherubini: Medea, Act II: "Creonte a me solo un giorno dà?" (Medea, Neris, Giasone) is about two minutes long, specifically at 2:27. This song does not appear to have any foul language. Cherubini: Medea, Act II: "Creonte a me solo un giorno dà?" (Medea, Neris, Giasone)'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 6 out of 29 in Cherubini : Medea by Luigi Cherubini, Maria Callas. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. The popularity of Cherubini: Medea, Act II: "Creonte a me solo un giorno dà?" (Medea, Neris, Giasone) is currently unknown 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 Cherubini: Medea, Act II: "Creonte a me solo un giorno dà?" (Medea, Neris, Giasone) by Luigi Cherubini, Maria Callas, Fedora Barbieri, Gino Penno, Orchestra Del Teatro Alla Scala, Milano, Leonard Bernstein is Vivace (lively and fast), since this song has a tempo of 172 BPM. With that information, we can conclude that the song has a fast tempo. The time signature for this track is 4/4.
This song is in the music key of D Minor. Because this track belongs in the D Minor key, the camelot key is 7A. So, the perfect camelot match for 7A would be either 7A or 6B. While, a low energy boost can consist of either 7B or 8A. For moderate energy boost, you would use 4A and a high energy boost can either be 9A or 2A. However, if you are looking for a low energy drop, finding a song with a camelot key of 6A would be a great choice. Where 10A would give you a moderate drop, and 5A or 12A would be a high energy drop. Lastly, 10B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
La Cenerentola: Overture (Sinfonia) | Gioachino Rossini, Orchestra del Teatro Comunale di Bologna, Riccardo Chailly | A Minor | 1 | 8A | 116 BPM | ||
Scheherazade: The voice of Scheherazade | Nikolai Rimsky-Korsakov, Joakim Svenheden | G Major | 1 | 9B | 132 BPM | ||
Wesendonck Lieder, WWV 91: Schmerzen | Richard Wagner, Jessye Norman, London Symphony Orchestra, Sir Colin Davis | C Minor | 1 | 5A | 132 BPM | ||
Stabat Mater: 4. Quae moerabat | Giovanni Battista Pergolesi, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | E♭ Major | 1 | 5B | 75 BPM | ||
Dido and Aeneas, Z. 626: Overture | Henry Purcell, Kym Amps, David van Asch, Anna Crookes, The Scholars Baroque Ensemble | B Minor | 2 | 10A | 91 BPM | ||
Tannhäuser, WWV 70 / Act 2: "Dich, teure Halle, grüß ich wieder" | Richard Wagner, Lise Davidsen, Philharmonia Orchestra, Esa-Pekka Salonen | E Minor | 2 | 9A | 169 BPM | ||
Dei Tuoi Figli La Madre - Medea | Luigi Cherubini, Maria Callas | D Major | 4 | 10B | 82 BPM | ||
Julius Caesar, HWV 17, Act III Scene 1: Flow, my tears (Cleopatra) | George Frideric Handel, Sir Charles Mackerras, English National Opera Orchestra, Valerie Masterson | E Major | 0 | 12B | 72 BPM | ||
Messa da Requiem: II Lacrymosa | Mass Text, Giuseppe Verdi, Elena Filipova, Hungarian State Opera Chorus, Cesar Hernandez, Gloria Scalchi, Carlo Colombara, Hungarian State Opera Orchestra | B♭ Minor | 1 | 3A | 77 BPM | ||
Haydn: String Quartet in C Major, Op. 76 No. 3, Hob. III:77 "Emperor": II. (a) Poco adagio, cantabile | Franz Joseph Haydn, Alban Berg Quartett | B♭ Major | 1 | 6B | 101 BPM |
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