Jacques Offenbach, Wiener Philharmoniker, Lorin Maazel made "Orpheus In The Underworld (Orphée aux enfers): Can-Can - Live" available on December 28, 2020. The duration of Orpheus In The Underworld (Orphée aux enfers): Can-Can - Live is about two minutes long, specifically at 2:12. This song does not appear to have any foul language. Orpheus In The Underworld (Orphée aux enfers): Can-Can - Live's duration is considered a little bit shorter than the average duration of a typical track. The track order of this song in Jacques Offenbach, Franz Lehár's "It's time to waltz!" album is number 4 out of 125. The popularity of Orpheus In The Underworld (Orphée aux enfers): Can-Can - Live is currently below average in popularity right now. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
We consider the tempo marking of Orpheus In The Underworld (Orphée aux enfers): Can-Can - Live by Jacques Offenbach, Wiener Philharmoniker, Lorin Maazel to be Vivace (lively and fast) because the track has a tempo of 172 BPM, a half-time of 86BPM, and a double-time of 344 BPM. Based on that, the speed of the song's tempo is fast. The time signature for this track is 4/4.
This song is in the music key of D Major. This also means that this song has a camelot key of 10B. So, the perfect camelot match for 10B would be either 10B or 11A. While, 11B can give you a low energy boost. For moderate energy boost, you would use 7B and a high energy boost can either be 12B or 5B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 10A or 9B will give you a low energy drop, 1B would be a moderate one, and 8B or 3B would be a high energy drop. Lastly, 7A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
A Midsummer Night's Dream, Incidental Music, Op. 61, MWV M 13: No. 9 Wedding March | Felix Mendelssohn, Royal Concertgebouw Orchestra, George Szell | G Minor | 2 | 6A | 132 BPM | ||
Wilhelm Tell Galopp, Op. 29b | Johann Strauss I, Riccardo Muti, Wiener Philharmoniker | E Major | 6 | 12B | 149 BPM | ||
Von Suppé: Ein Morgen, ein Mittag, ein Abend in Wien: Overture | Franz von Suppé, Wiener Philharmoniker, Riccardo Muti | F Major | 2 | 7B | 79 BPM | ||
Offenbach: Les Contes d'Hoffmann, Act 4: "Belle nuit, ô nuit d'amour" (Arr. for Trumpet & Orchestra) | Jacques Offenbach, Lucienne Renaudin Vary, Erik Truffaz, Roberto Rizzi Brignoli, Orchestre National de Lille | D Major | 1 | 10B | 84 BPM | ||
The Tale Of Tsar Saltan - Arr. Grigory Feygin: The Flight Of The Bumble-Bee | Nikolai Rimsky-Korsakov, Irina Saizewa, Violin Ensemble of the Bolshoi Theatre, Moscow, Julij Rejentowitsch | A Major | 3 | 11B | 92 BPM | ||
Gaite Parisienne (after J. Offenbach): 23. Barcarolle | Manuel Rosenthal, Monte-Carlo Philharmonic Orchestra | D Major | 0 | 10B | 113 BPM | ||
Le Carnaval des Animaux, R. 125: 12. Fossiles | Camille Saint-Saëns, Pascal Rogé, Cristina Ortiz, London Sinfonietta, Charles Dutoit | E♭ Major | 3 | 5B | 116 BPM | ||
Also sprach Zarathustra, Op. 30, TrV 176: Einleitung | Richard Strauss, Wiener Philharmoniker, Lorin Maazel | D Minor | 0 | 7A | 106 BPM | ||
Tsar Saltan : Le vol du Bourdon | Nikolai Rimsky-Korsakov, André Cluytens, Orchestre De La Société Des Concerts Du Conservatoire | B Minor | 9 | 10A | 140 BPM | ||
Carmina Burana / Fortuna Imperatrix Mundi: I. O Fortuna | Carl Orff, Orchester der Deutschen Oper Berlin, Eugen Jochum, Chor der Deutschen Oper Berlin | B♭ Major | 2 | 6B | 70 BPM |
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