Jacques Offenbach, André Cluytens, Géori Boué, Orchestre du Théâtre national de l'Opéra-Comique made "Offenbach: Les contes d'Hoffmann, Acte IV: Romance. "Elle a fui, la tourterelle" (Antonia)" available on January 1, 1948. With this song being around four minutes long, at 4:05, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. There are a total of 49 in the song's album "Offenbach: Les contes d'Hoffmann". In this album, this song's track order is #34. Furthermore, we believe that the track originated from France. Offenbach: Les contes d'Hoffmann, Acte IV: Romance. "Elle a fui, la tourterelle" (Antonia) is not that popular right now. The overall mood can be danceable to some, especially with it's high amount of postive energy.
With Offenbach: Les contes d'Hoffmann, Acte IV: Romance. "Elle a fui, la tourterelle" (Antonia) by Jacques Offenbach, André Cluytens, Géori Boué, Orchestre du Théâtre national de l'Opéra-Comique having a BPM of 82 with a half-time of 41 BPM and a double-time of 164 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 5/4.
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 | ||
---|---|---|---|---|---|---|---|
Purcell : King Arthur : Air | William Christie | G Minor | 1 | 6A | 0 BPM | ||
Werther: "Pourquoi me réveiller, ô souffle du printemps?" | Jules Massenet, Benjamin Bernheim, PKF – Prague Philharmonia, Emmanuel Villaume | F♯ Minor | 1 | 11A | 79 BPM | ||
Offenbach: Les Contes d'Hoffmann, Act 2: "Les oiseaux dans la charmille" (Olympia, Chorus) | Jacques Offenbach, Kent Nagano, Orchestre De L'Opéra National De Lyon | C Major | 0 | 8B | 98 BPM | ||
Masquerade Suite: I. Waltz | Aram Khachaturian, Kirill Kondrashin, RCA Victor Symphony Orchestra | C Major | 3 | 8B | 181 BPM | ||
Offenbach: Les Brigands: Overture | Jacques Offenbach, John Eliot Gardiner, Orchestre de l'Opéra de Lyon | E♭ Major | 2 | 5B | 89 BPM | ||
Symphony No. 9 in E Minor, Op. 95 "From the New World": I. Adagio — Allegro molto | Antonín Dvořák, New York Philharmonic, Alan Gilbert | E Minor | 1 | 9A | 125 BPM | ||
Carmen, Opera Suite No. 2: III. Nocturne (Aria de Michaela Act 3) | London Festival Orchestra Alfred Scholz | E♭ Major | 1 | 5B | 67 BPM | ||
Ruslan and Ludmila: Overture | Mikhail Glinka, The USSR Bolshoy Theatre Orchestra, Yevgeny Svetlanov | F Major | 3 | 7B | 81 BPM | ||
Shéhérazade, Op. 35: I. The Sea and Sinbad's Ship | Nikolai Rimsky-Korsakov, Sergej Galaktionov, Gianandrea Noseda, Filarmonica Teatro Regio Torino | E Major | 1 | 12B | 136 BPM | ||
Serenade No. 2 in A Major, Op. 16: 2. Scherzo. Vivace | Johannes Brahms, Royal Concertgebouw Orchestra, Bernard Haitink | A Major | 1 | 11B | 179 BPM |
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