"Rusalka, Op. 114 / Act 1: Tvoje moudrost vsechno tusi" by Antonín Dvořák, Renée Fleming, Dolora Zajick, Czech Philharmonic Orchestra, Sir Charles Mackerras was released on January 1, 1998. With this song being about 5 minutes long, at 5:00, "Rusalka, Op. 114 / Act 1: Tvoje moudrost vsechno tusi" by Antonín Dvořák, Renée Fleming, Dolora Zajick, Czech Philharmonic Orchestra, Sir Charles Mackerras is fairly a long song compared to the average song length. This song does not have an "Explicit" tag, making it safe for all ages. The song is number 9 out of 30 in Dvorák: Rusalka by Antonín Dvořák, Renée Fleming, Ben Heppner, Czech Philharmonic Orchestra, Sir Charles Mackerras. Going off of the ISRC code of this track, we detected that the origin of this track is from United Kingdom. In terms of popularity, Rusalka, Op. 114 / Act 1: Tvoje moudrost vsechno tusi 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.
The tempo marking of Rusalka, Op. 114 / Act 1: Tvoje moudrost vsechno tusi by Antonín Dvořák, Renée Fleming, Dolora Zajick, Czech Philharmonic Orchestra, Sir Charles Mackerras is Andante (at a walking pace), since this song has a tempo of 98 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 3/4.
E Major is the music key of this track. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Salome, Op. 54 / Scene 3: "Zurück, Tochter Sodoms!" | Richard Strauss, Cheryl Studer, Bryn Terfel, Orchester der Deutschen Oper Berlin, Giuseppe Sinopoli | B Minor | 1 | 10A | 128 BPM | ||
Il Trovatore / Act 1: "Tacea la notte" - "Quanto narrasti di turbamento" | Giuseppe Verdi, Joan Sutherland, Norma Burrowes, National Philharmonic Orchestra, Richard Bonynge | A♭ Major | 1 | 4B | 165 BPM | ||
Péchés de vieillesse, Vol. 11 "Miscellanée de musique vocale": No. 1, Ariette villageoise | Gioachino Rossini, Giuseppina Bridelli, Alessandro Marangoni | G Major | 1 | 9B | 85 BPM | ||
Carmen / Act 1: Dans l'air, nous suivons des yeux la fumée | Georges Bizet, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris | E Major | 0 | 12B | 83 BPM | ||
Lohengrin, WWV 75 / Act III: "Mein lieber Schwan!" | Richard Wagner, Siegfried Jerusalem, Kurt Moll, Waltraud Meier, Cheryl Studer, Vienna State Opera Chorus, Peter Burian, Wiener Philharmoniker, Claudio Abbado | D Major | 1 | 10B | 117 BPM | ||
Die Liebe der Danae, Op. 83, TrV 278: Wie ungibst du mich mit frieden | Richard Strauss, Julia Varady, Bamberg Symphony, Dietrich Fischer-Dieskau | F Major | 2 | 7B | 83 BPM | ||
Die Fledermaus / Act 3: Nr.14 Couplets: "Spiel' ich die Unschuld vom Lande" | Johann Strauss II, Lucia Popp, Evi List, Benno Kusche, Bavarian State Orchestra, Carlos Kleiber | G Major | 1 | 9B | 102 BPM | ||
Der fliegende Holländer, WWV 63 / Act 1: "Hojoje! Hallojo! Ho!...Kein Zweifel! Sieben Meilen" | Richard Wagner, Martti Talvela, Werner Krenn, Chicago Symphony Chorus, Chicago Symphony Orchestra, Sir Georg Solti | B♭ Major | 2 | 6B | 75 BPM | ||
Rossini: Guillaume Tell, Act 2 Scene 2: "Sombre forêt" (Mathilde) | Gioachino Rossini, Montserrat Caballé | A♭ Major | 1 | 4B | 74 BPM | ||
Requiem, Op. 89 B. 165: Sequentia: Tuba mirum (Alto, Tenor, Bass, Chorus) | Antonín Dvořák, Ewa Wolak, Daniel Kirch, Janusz Monarcha, Chór Filharmonii Narodowej w Warszawie, Orkiestra Filharmonii Narodowej w Warszawie, Antoni Wit | D♭ Major | 2 | 3B | 92 BPM |