Wolfgang Amadeus Mozart, Kiri Te Kanawa, Metropolitan Opera Orchestra, James Levine's 'Le nozze di Figaro, K.492 / Act 3: "E Susanna non vien!" - "Dove sono i bei momenti"' had a release date set for January 1, 1980. Since This song 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 track order of this song in Wolfgang Amadeus Mozart, James Levine, Metropolitan Opera Orchestra's "Mozart : Les Noces de Figaro (extraits)" album is number 16 out of 20. On top of that, Germany appears to be the country where this track was created. In terms of popularity, Le nozze di Figaro, K.492 / Act 3: "E Susanna non vien!" - "Dove sono i bei momenti" 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.
We consider the tempo marking of Le nozze di Figaro, K.492 / Act 3: "E Susanna non vien!" - "Dove sono i bei momenti" by Wolfgang Amadeus Mozart, Kiri Te Kanawa, Metropolitan Opera Orchestra, James Levine to be Andante (at a walking pace) because the track has a tempo of 94 BPM, a half-time of 47BPM, and a double-time of 188 BPM. Based on that, the speed of the song's tempo is slow. Activities such as, yoga or pilates, can go well with this song. The time signature for this track is 4/4.
The music key of this track is E♭ Major. This also means that this song has a camelot key of 5B. So, the perfect camelot match for 5B would be either 5B or 6A. While, 6B can give you a low energy boost. For moderate energy boost, you would use 2B and a high energy boost can either be 7B or 12B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 5A or 4B will give you a low energy drop, 8B would be a moderate one, and 3B or 10B would be a high energy drop. Lastly, 2A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Concerto for Strings in A Minor, RV 161: I. Allegro | Antonio Vivaldi, Accademia I Filarmonici, Alberto Martini | B♭ Major | 5 | 6B | 124 BPM | ||
Etudes symphoniques (Symphonic Etudes), Op. 13, Adagio and Allegro brillante: Variation 11 [arr. P.I. Tchaikovsky for orchestra] | Seattle Symphony Orchestra, Robert Schumann, Gerard Schwarz | A Minor | 0 | 8A | 70 BPM | ||
Mozart: Horn Concerto No. 4 in E-Flat Major, K. 495: II. Romance. Andante cantabile | Wolfgang Amadeus Mozart, Radovan Vlatkovic, English Chamber Orchestra, Jeffrey Tate | B♭ Major | 0 | 6B | 84 BPM | ||
Souvenir de Hapsal, Op. 2, TH 125: 3. Chant sans paroles | Pyotr Ilyich Tchaikovsky, Valentina Lisitsa | F Major | 0 | 7B | 100 BPM | ||
Keyboard Sonata in D Minor, K.9/L.413/P.65: Allegro | Domenico Scarlatti, Balazs Szokolay | F Major | 1 | 7B | 118 BPM | ||
Flute Concerto No. 2 in D Major, K. 314: I. Allegro aperto | Wolfgang Amadeus Mozart, Patrick Gallois, Roderick Shaw, Swedish Chamber Orchestra, Katarina Andreasson | D Major | 1 | 10B | 137 BPM | ||
Concerto For 2 Keyboards In C Minor, BWV 1062: I. - Allegro | Cologne Chamber Orchestra, Michael Behringer, Robert Hill, Johann Sebastian Bach | C Minor | 4 | 5A | 106 BPM | ||
Piano Concerto No. 20 in D Minor, K. 466: II. Romance | Wolfgang Amadeus Mozart, Jeremy Denk, Saint Paul Chamber Orchestra | B♭ Major | 1 | 6B | 85 BPM | ||
Orpheo ed Euridice, Wq. 30, Act II: Dance of the Blessed Spirits | Christoph Willibald Gluck, Eugene Ormandy, Philadelphia Orchestra | D Minor | 1 | 7A | 67 BPM | ||
Symphony No. 40 in G Minor, K. 550: I. Allegro molto | Wolfgang Amadeus Mozart, Capella Istropolitana, Barry Wordsworth | G Minor | 2 | 6A | 109 BPM |