Richard Strauss, Cheryl Studer, Bryn Terfel, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli's 'Salome, Op. 54 / Scene 3: "Zurück, Tochter Sodoms!"' came out on January 1, 1991. The duration of Salome, Op. 54 / Scene 3: "Zurück, Tochter Sodoms!" is about two minutes long, specifically at 2:43. This song does not appear to have any foul language. Salome, Op. 54 / Scene 3: "Zurück, Tochter Sodoms!"'s duration is considered a little bit shorter than the average duration of a typical track. There are a total of 32 in the song's album "Richard Strauss: Salome". In this album, this song's track order is #12. Furthermore, we believe that the track originated from Germany. Based on our statistics, Salome, Op. 54 / Scene 3: "Zurück, Tochter Sodoms!"'s popularity is not that popular right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
With Salome, Op. 54 / Scene 3: "Zurück, Tochter Sodoms!" by Richard Strauss, Cheryl Studer, Bryn Terfel, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli having a テンポ of 128 with a half-time of 64 テンポ and a double-time of 256 テンポ, we would consider this track to have a Allegro (fast, quick, and bright) tempo marking. Because of this, we believe that the song has an overall fast tempo. Looking at the テンポ of this song, this song might go great with walking. The time signature for this track is 4/4.
This song has a musical key of B Minor. Or for those who are familiar with the camelot wheel, this song has a camelot key of 10A. So, the perfect camelot match for 10A would be either 10A or 9B. While, a low energy boost can consist of either 10B or 11A. For moderate energy boost, you would use 7A and a high energy boost can either be 12A or 5A. However, if you are looking for a low energy drop, finding a song with a camelot key of 9A would be a great choice. Where 1A would give you a moderate drop, and 8A or 3A would be a high energy drop. Lastly, 1B allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Don Pasquale, Act III Prima Scena: Vediamo: alla modista cento scudi (Pasquale) | Gaetano Donizetti, Sesto Bruscantini, Riccardo Muti, Philharmonia Orchestra | E Minor | 1 | 9A | 132 BPM | ||
Gurrelieder, Pt. 1: No. 6, So tanzen die Engel (Waldemar) | Arnold Schoenberg, Siegfried Jerusalem, Wiener Philharmoniker, Claudio Abbado | D Major | 1 | 10B | 89 BPM | ||
Nabucco / Act 4: Oh, dischiuso è il firmamento! | Giuseppe Verdi, Lucia Valentini Terrani, Lucia Popp, Plácido Domingo, Yevgeny Nesterenko, Kurt Rydl, Piero Cappuccilli, Volker Horn, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli, Chor der Deutschen Oper Berlin | F Major | 1 | 7B | 108 BPM | ||
Rigoletto / Act 1: "Pari siamo" | Giuseppe Verdi, Renato Bruson, Orchestra dell'Accademia Nazionale di Santa Cecilia, Giuseppe Sinopoli | B♭ Major | 2 | 6B | 79 BPM | ||
Rusalka, Op. 114 / Act 3: Ze se bojís? Tresky, plesky | Antonín Dvořák, Ivan Kusnjer, Zdena Kloubová, Dolora Zajick, Franz Hawlata, Czech Philharmonic Orchestra, Sir Charles Mackerras | G Major | 1 | 9B | 130 BPM | ||
Die Walküre, WWV 86B / Act II: "Was verlangst du?" | Richard Wagner, Régine Crespin, Josephine Veasey, Thomas Stewart, Berliner Philharmoniker, Herbert von Karajan | D Major | 1 | 10B | 85 BPM | ||
Aida / Act 1: Quale insolita gioia | Giuseppe Verdi, Elena Obraztsova, Plácido Domingo, Orchestra Del Teatro Alla Scala, Milano, Claudio Abbado | A♭ Major | 0 | 4B | 81 BPM | ||
Rusalka, Op. 114 / Act 1: Tvoje moudrost vsechno tusi | Antonín Dvořák, Renée Fleming, Dolora Zajick, Czech Philharmonic Orchestra, Sir Charles Mackerras | E Major | 1 | 12B | 98 BPM | ||
Rusalka, Op. 114 / Act 3: Bílá moje lani! Bílá moje lani! | Antonín Dvořák, Ben Heppner, Czech Philharmonic Orchestra, Sir Charles Mackerras | B Minor | 4 | 10A | 80 BPM | ||
La traviata / Act 3: "Ah, non più!" - "Ah! Gran Dio! Morir sì giovine" | Giuseppe Verdi, Cheryl Studer, Luciano Pavarotti, Metropolitan Opera Orchestra, James Levine | G Major | 1 | 9B | 64 BPM |