"Der Rosenkavalier, Op. 59, Act III: "Marie Theres!" - "Hab' mir's gelobt"" by Elisabeth Schwarzkopf, Christa Ludwig, Eberhard Wächter, Otto Edelmann, Teresa Stich-Randall was released on June 20, 2013. Der Rosenkavalier, Op. 59, Act III: "Marie Theres!" - "Hab' mir's gelobt" is about six minutes long, preciously at 6:03, making this song fairly long compared to other songs. There are a total of 30 in the song's album "Underrated Classical: 3.5 Hours of the Greatest Classical Music You Should be Listening to, Volume 1". In this album, this song's track order is #12. Furthermore, we believe that the track originated from United States. In terms of popularity, Der Rosenkavalier, Op. 59, Act III: "Marie Theres!" - "Hab' mir's gelobt" 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.
With Der Rosenkavalier, Op. 59, Act III: "Marie Theres!" - "Hab' mir's gelobt" by Elisabeth Schwarzkopf, Christa Ludwig, Eberhard Wächter, Otto Edelmann, Teresa Stich-Randall having a BPM of 95 with a half-time of 48 BPM and a double-time of 190 BPM, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. Looking at the BPM of this song, this song might go great with yoga or pilates. The time signature for this track is 4/4.
D♭ Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Ich danke fur die Huldigung…Ger, gern wär'ich verliebt (from "Der Land des Lächelns") | Elisabeth Schwarzkopf, Otto Ackermann, Chorus & Orchestra Philharmonia | D Major | 3 | 10B | 91 BPM | ||
Don Giovanni, ossia Il dissoluto punito, K. 527 / Act II: "Là ci darem la mano" | Wolfgang Amadeus Mozart, Anna Netrebko, Thomas Quasthoff, Staatskapelle Dresden, Sebastian Weigle | A Major | 1 | 11B | 109 BPM | ||
Meine Lippen sie küssen so heiss (from "Giuditta") | Elisabeth Schwarzkopf, Otto Ackermann, Orchestra Philharmonia | E Major | 3 | 12B | 103 BPM | ||
Il bacio | Luigi Arditi, Edita Gruberova, Stuttgart Radio Symphony Orchestra, Kurt Peter Eichhorn | G Major | 1 | 9B | 173 BPM | ||
Lehár: Die lustige Witwe, Act 2: Vilja-Lied (Hanna) | Franz Lehár, Karita Mattila, London Philharmonic Orchestra, Yutaka Sado | G Major | 1 | 9B | 176 BPM | ||
Cavalleria rusticana: Voi lo sapete | Pietro Mascagni, Agnes Baltsa, Munich Radio Orchestra, Heinz Wallberg | A Major | 1 | 11B | 123 BPM | ||
Schubert: 2 Lieder, Op. 22: No. 2, Wehmut, D. 772 | Franz Schubert, Elisabeth Schwarzkopf | D Major | 1 | 10B | 86 BPM | ||
La sonnambula, Act I: Come per me sereno | Vincenzo Bellini, Maria Callas, Orchestra Del Teatro Alla Scala, Milano, Antonino Votto | E♭ Major | 1 | 5B | 88 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 | ||
Strauss, R: 3 Lieder, Op. 88: No. 1, Das Bächlein (Version with Orchestra) | Richard Strauss, Elisabeth Schwarzkopf, George Szell, London Symphony Orchestra | F Major | 2 | 7B | 92 BPM |
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