"Medea (Medee) (Sung in Italian): Act I: No, non temer (Creonte)" by Luigi Cherubini, Maria Callas, Carlos Guichandut, Fedora Barbieri, Gabriella Tucci, Mario Petri, Mario Frosini, Liliana Poli, Maria Andreassi, Fiorentino Maggio Musicale Chorus, Orchestra del Maggio Musicale Fiorentino, Andrea Morosini was released on January 1, 2003. The duration of Medea (Medee) (Sung in Italian): Act I: No, non temer (Creonte) is about two minutes long, specifically at 2:15. This song does not appear to have any foul language. Medea (Medee) (Sung in Italian): Act I: No, non temer (Creonte)'s duration is considered a little bit shorter than the average duration of a typical track. The song is number 4 out of 23 in Cherubini, L.: Medea [Opera] (1953) by Luigi Cherubini, Maria Callas, Andrea Morosini. Going off of the ISRC code of this track, we detected that the origin of this track is from United States. Medea (Medee) (Sung in Italian): Act I: No, non temer (Creonte) 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.
The tempo marking of Medea (Medee) (Sung in Italian): Act I: No, non temer (Creonte) by Luigi Cherubini, Maria Callas, Carlos Guichandut, Fedora Barbieri, Gabriella Tucci, Mario Petri, Mario Frosini, Liliana Poli, Maria Andreassi, Fiorentino Maggio Musicale Chorus, Orchestra del Maggio Musicale Fiorentino, Andrea Morosini is Andante (at a walking pace), since this song has a tempo of 79 BPM. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
This song is in the music key of G Major. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Czech Suite in D Major, Op. 39, B. 93: IV. Romanza. Andante con moto | Antonín Dvořák, Prague Chamber Orchestra, Josef Vlach | G Major | 1 | 9B | 142 BPM | ||
Ave Maria, S20/1/R496a | Franz Liszt, Paolo Crivellaro, Radio Svizzera Choir, Lugano, Diego Fasolis | A♭ Major | 0 | 4B | 83 BPM | ||
Grande Messe des Morts: Introduzione: Grave | Francois-Joseph Gossec, Roberta Invernizzi, Maite Arruabarrena, Howard Crook, Claude Darbellay, Radio Svizzera Choir, Lugano, Radio Svizzera Italiana Orchestra, Diego Fasolis | C Major | 0 | 8B | 64 BPM | ||
Gloria in D, RV 589: II. Et in terra pax hominibus | Antonio Vivaldi, Choir of King's College, Cambridge, Stephen Cleobury, Academy of Ancient Music | B♭ Minor | 2 | 3A | 130 BPM | ||
Sinfonia in D Major, "La Veneziana": I. Allegro assai | Antonio Salieri, Chopin Chamber Orchestra, Winston Dan Vogel | D Major | 1 | 10B | 108 BPM | ||
Haydn: Mass in D Minor, Hob. XXII:11 "Nelson Mass": Kyrie | Joseph Haydn, Sir Neville Marriner, Hansjürgen Scholze, Margaret Marshall, MDR Leipzig Radio Chorus, Staatskapelle Dresden | G Minor | 3 | 6A | 115 BPM | ||
Cherubini: Medea, Act 1: "Nemici senza cor" (Medea, Giasone) | Luigi Cherubini, Maria Callas, Mirto Picchi, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin | C Major | 2 | 8B | 81 BPM | ||
Symphonie fantastique, Op. 14, H 48: II. Un Bal | Hector Berlioz, London Symphony Orchestra, Sir Colin Davis | A Major | 1 | 11B | 113 BPM | ||
Bach - Violin Sonata in E Minor, P. 85 (after J.S. Bach's BWV 1023): I. Allegro | Ottorino Respighi, Ilkka Talvi, Seattle Symphony Orchestra, Gerard Schwarz | D Major | 2 | 10B | 126 BPM | ||
Masquerade Suite: Nocturne | Aram Khachaturian, St. Petersburg State Symphony Orchestra, Andre Anichanov | A Major | 1 | 11B | 105 BPM |
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