Jacques Offenbach, Michel Plasson, Christiane Château, Choeur Du Capitole De Toulouse, Jean Christophe Benoit, Luis Masson, Michel Sénéchal, Orchestre Du Capitole De Toulouse made "Offenbach: La vie parisienne, Act 1: Chœur. "À Paris, nous arrivons en masse" - "Je suis Brésilien, j'ai de l'or" (Gardefeu, Le Baron, La Baronne, Le Brésilien, Chœur)" available on September 15, 2023. Offenbach: La vie parisienne, Act 1: Chœur. "À Paris, nous arrivons en masse" - "Je suis Brésilien, j'ai de l'or" (Gardefeu, Le Baron, La Baronne, Le Brésilien, Chœur) is about six minutes long, preciously at 5:31, making this song fairly long compared to other songs. There are a total of 22 in the song's album "Offenbach: La vie parisienne". In this album, this song's track order is #6. Furthermore, we believe that the track originated from France. In terms of popularity, Offenbach: La vie parisienne, Act 1: Chœur. "À Paris, nous arrivons en masse" - "Je suis Brésilien, j'ai de l'or" (Gardefeu, Le Baron, La Baronne, Le Brésilien, Chœur) is currently not that popular. Since there is more of a neutral sound being played, this makes the track somewhat danceable.
With Offenbach: La vie parisienne, Act 1: Chœur. "À Paris, nous arrivons en masse" - "Je suis Brésilien, j'ai de l'or" (Gardefeu, Le Baron, La Baronne, Le Brésilien, Chœur) by Jacques Offenbach, Michel Plasson, Christiane Château, Choeur Du Capitole De Toulouse, Jean Christophe Benoit, Luis Masson, Michel Sénéchal, Orchestre Du Capitole De Toulouse having a BPM of 98 with a half-time of 49 BPM and a double-time of 196 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. The time signature for this track is 4/4.
This song is in the music key of C Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 8B. So, the perfect camelot match for 8B would be either 8B or 9A. While, 9B can give you a low energy boost. For moderate energy boost, you would use 5B and a high energy boost can either be 10B or 3B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 8A or 7B will give you a low energy drop, 11B would be a moderate one, and 6B or 1B would be a high energy drop. Lastly, 5A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Samson et Dalila, Op. 47: Act III: Salut! Salut au juge d'Israel... | Camille Saint-Saëns, Hélène Bouvier, Charles Cambon, José Luccioni, Henri Medus, Paul Cabanel, Paris National Opera Chorus, Paris National Opera Orchestra, Louis Fourestier | E♭ Major | 2 | 5B | 113 BPM | ||
Humperdinck : Hänsel und Gretel : Act 1 "Doch halt, wo bleiben die Kinder?" [Father, Stepmother] | Engelbert Humperdinck, Donald Runnicles, Bavarian Radio Symphony Orchestra | F Major | 1 | 7B | 133 BPM | ||
Les Contes d'Hoffmann (1989 Digital Remaster), Act I: Oui, l'on devient digne d'envie | Jacques Offenbach, Nicolai Gedda, Elisabeth Schwarzkopf, Victoria de los Ángeles, Gianna D'Angelo, Christiane Gayraud, Robert Geay, Jean-Pierre Laffage, Jean Christophe Benoit, Michel Sénéchal, Ernest Blanc, George London, Nicola Ghiuselev, André Mallabrera, Renée Faure, Jacques Pruvost, André Cluytens, Orchestre De La Société Des Concerts Du Conservatoire | A Minor | 1 | 8A | 132 BPM | ||
Offenbach: La vie parisienne, Act 1: Ouverture - Chœur. "Nous sommes employés de la ligne de l'Ouest" - Dialogue. "À quelle heure arrive le train de Trouville ?" (Chœur, Bobinet, Gardefeu, L'Employé) | Jacques Offenbach, Michel Plasson, André Batisse, Choeur Du Capitole De Toulouse, Michel Sénéchal, Michel Trempont, Orchestre Du Capitole De Toulouse | G Major | 3 | 9B | 111 BPM | ||
Strauss II, J: La chauve-souris, Act 1: Terzetto. "Hélas, quelle est ma peine" (Caroline, Arlette, Gaillardin) | Johann Strauss II, Franck Pourcel, Jacqueline Brumaire, Liliane Berton, Pierre Fleta, Orchestre De La Société Des Concerts Du Conservatoire | D Major | 2 | 10B | 127 BPM | ||
Cavalleria rusticana: Part II: Intanto amici, qua (Turiddu, Lola, Chorus) | Pietro Mascagni, Maria Callas, Giuseppe Di Stefano, Rolando Panerai, Anna Maria Canali, Ebe Ticozzi, Vittore Veneziani, Milan La Scala Chorus, Orchestra Del Teatro Alla Scala, Milano, Tullio Serafin | G Major | 3 | 9B | 121 BPM | ||
Les Contes d'Hoffmann / Act 2: "C'est moi, Coppélius" | Jacques Offenbach, Gabriel Bacquier, Claudia Eder, Plácido Domingo, Orchestre National De France, Seiji Ozawa | A♭ Major | 0 | 4B | 202 BPM | ||
Massenet: Don Quichotte, Act 4: Interlude | Jules Massenet, Michel Plasson, Orchestre National Du Capitole De Toulouse | G Minor | 0 | 6A | 78 BPM | ||
Adriana Lecouvreur, Act I : Ecco, respiro appena… Io son l’umile ancella | Francesco Cilea, Arturo Colautti, Marina Rebeka, Marco Boemi, Wrocław Opera Orchestra | E Major | 2 | 12B | 88 BPM | ||
Le Villi: Act I - Presto! Presto in viaggio!... Angiol di Dio | Giacomo Puccini, Lorin Maazel, London National Philharmonic Orchestra | G Minor | 2 | 6A | 127 BPM |
Section: 0.6927089691162109
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