"Louise (1994 Digital Remaster), ACT 3 Scene 1: Depuis le jour où je me suis donnée (Louise)" by Julius Rudel, Beverly Sills, Orchestre de l'Opéra National de Paris was released on 2004. Louise (1994 Digital Remaster), ACT 3 Scene 1: Depuis le jour où je me suis donnée (Louise) is about six minutes long, preciously at 5:34, making this song fairly long compared to other songs. There is only one song in 100 Best Opera Classics, so we believe that "Louise (1994 Digital Remaster), ACT 3 Scene 1: Depuis le jour où je me suis donnée (Louise)" is a single. Louise (1994 Digital Remaster), ACT 3 Scene 1: Depuis le jour où je me suis donnée (Louise) 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 Louise (1994 Digital Remaster), ACT 3 Scene 1: Depuis le jour où je me suis donnée (Louise) by Julius Rudel, Beverly Sills, Orchestre de l'Opéra National de Paris is Andante (at a walking pace), since this song has a tempo of 88 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 3/4.
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 | ||
---|---|---|---|---|---|---|---|
La Gioconda / Act 2: "Cielo e mar!" | Amilcare Ponchielli, Luciano Pavarotti, New Philharmonia Orchestra, Leone Magiera | E♭ Major | 2 | 5B | 84 BPM | ||
Les Contes d'Hoffmann / Act 1: Entr'acte | Jacques Offenbach, Orchestre de la Suisse Romande, Richard Bonynge | E Major | 2 | 12B | 100 BPM | ||
Nacht und Träume, D. 827 | Franz Schubert, Kathleen Battle, James Levine | F♯ Minor | 2 | 11A | 63 BPM | ||
Cendrillon: Le Rigodon du Roy | Jules Massenet, Philharmonia Orchestra, Julius Rudel | G Major | 1 | 9B | 84 BPM | ||
Boito: Mefistofele, Prologue: "Ave, Signor" (Mefistofele) | Arrigo Boito, Norman Treigle, Julius Rudel, London Symphony Orchestra | F Major | 1 | 7B | 167 BPM | ||
I Puritani / Act 1: A te, o cara | Vincenzo Bellini, Nicolai Gedda, Paul Plishka, Richard van Allan, Beverly Sills, London Philharmonic Orchestra, Julius Rudel, Ambrosian Opera Chorus, John McCarthy | D Major | 3 | 10B | 83 BPM | ||
Puccini: La bohème, Act 1: "Sì. Mi chiamano Mimì" (Mimì, Rodolfo, Schaunard, Colline, Marcello) | Giacomo Puccini, Barbara Hendricks, Francesco Ellero D'Artegna, Gino Quilico, James Conlon, José Carreras, Orchestre National De France, Richard Cowan | A Major | 0 | 11B | 78 BPM | ||
Offenbach: Orphée aux enfers, Act 1: "La mort m'apparaît souriante" (Eurydice) | Jacques Offenbach, Marc Minkowski, Orchestre de Chambre de Grenoble, Orchestre De L'Opéra National De Lyon | G Major | 0 | 9B | 100 BPM | ||
Gounod: Faust, Act 2: "Vin ou bière ... Jeune adepte du tonneau" (Chorus, Wagner) | Charles Gounod, Michel Plasson, Marc Barrard, Orchestre National Du Capitole De Toulouse | A Minor | 1 | 8A | 94 BPM | ||
Donizetti: Lucia di Lammermoor, Act 1: "Quando rapito in estasi" (Lucia, Alisa) | Gaetano Donizetti, Maria Callas, Anna Maria Canali, Orchestra del Maggio Musicale Fiorentino, Tullio Serafin | D Major | 1 | 10B | 169 BPM |
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