"Bachianas brasileiras No. 5: Ária (Cantilena)" by Heitor Villa-Lobos, Anna Moffo, Leopold Stokowski, American Symphony Orchestra was released on 1958. Since Bachianas brasileiras No. 5: Ária (Cantilena) 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 song is number 8 out of 158 in Anna Moffo - The Complete RCA Recital Albums by Anna Moffo. In terms of popularity, Bachianas brasileiras No. 5: Ária (Cantilena) is currently below average in popularity. 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 Bachianas brasileiras No. 5: Ária (Cantilena) by Heitor Villa-Lobos, Anna Moffo, Leopold Stokowski, American Symphony Orchestra is Moderato (at a moderate speed), since this song has a tempo of 119 BPM. With that information, we can conclude that the song has a moderate tempo. This song can go great with walking. The time signature for this track is 4/4.
This song is in the music key of A Minor. Because this track belongs in the A Minor key, the camelot key is 8A. So, the perfect camelot match for 8A would be either 8A or 7B. While, a low energy boost can consist of either 8B or 9A. For moderate energy boost, you would use 5A and a high energy boost can either be 10A or 3A. However, if you are looking for a low energy drop, finding a song with a camelot key of 7A would be a great choice. Where 11A would give you a moderate drop, and 6A or 1A would be a high energy drop. Lastly, 11B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
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Monteverdi: L'incoronazione di Poppea, SV 308, Act 3: "Pur ti miro" (Nerone, Poppea) | Claudio Monteverdi, Philippe Jaroussky, L'Arpeggiata, Núria Rial, Christina Pluhar | G Major | 1 | 9B | 77 BPM | ||
Handel: Serse, HWV 40, Act 1 Scene 1: No. 2, Arioso, "Ombra mai fù" (Serse) | George Frideric Handel, William Christie | E Major | 1 | 12B | 89 BPM | ||
Les Contes d'Hoffmann / Act 2: "Belle nuit, ô nuit d'amour" | Jacques Offenbach, Dame Joan Sutherland, Huguette Tourangeau, Chorus Pro Arte Lausanne Du Brassus, Radio Suisse Romande Chorus, Orchestre de la Suisse Romande, Richard Bonynge | D Major | 1 | 10B | 82 BPM | ||
Don Pasquale / Act 3: "Com'è gentil...tornami a dir" | Gaetano Donizetti, Juan Diego Flórez, Andrea Menafra, Rossella Perrone, Giulio Patara, Coro Sinfonico di Milano Giuseppe Verdi, Orchestra Sinfonica di Milano Giuseppe Verdi, Riccardo Frizza | A Major | 2 | 11B | 102 BPM | ||
Villa-Lobos: A prole do bebê No. 1, W. 140: I. Branquinha (A boneca de louça). Molto animato con allegrezza | Heitor Villa-Lobos, Nelson Freire | A Minor | 0 | 8A | 93 BPM | ||
Sadko: Song Of India | Nikolai Rimsky-Korsakov, Aida Garifullina, Vienna Radio Symphony Orchestra, Cornelius Meister | A Major | 2 | 11B | 75 BPM | ||
Si, Mi Chiamano Mimì - la Boheme Atto I | Renata Tebaldi | D Major | 2 | 10B | 80 BPM | ||
Puccini: Gianni Schicchi - O, mio babbino caro | Kiri Te Kanawa, Stephen Barlow, London Symphony Orchestra | A♭ Major | 2 | 4B | 97 BPM | ||
Ombra di nube | Licinio Refice, Jonas Kaufmann, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano | A♭ Major | 0 | 4B | 87 BPM | ||
Paride ed Elena / Act 1: "O del mio dolce ardor" | Christoph Willibald Gluck, Anne Sofie von Otter, Paul Goodwin, The English Concert, Trevor Pinnock | E Minor | 1 | 9A | 133 BPM |
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