佐藤美枝子, ジェイムズ・ロックハート, フィルハーモニア管弦楽団's '歌劇「魔笛」 第2幕~夜の女王のアリア' came out on June 4, 2014. The duration of 歌劇「魔笛」 第2幕~夜の女王のアリア is about 3 minutes long, at 3:01. Based on our data, "歌劇「魔笛」 第2幕~夜の女王のアリア" appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There is only one song in モーツァルト 人気曲ベスト35, so we believe that "歌劇「魔笛」 第2幕~夜の女王のアリア" is a single. 歌劇「魔笛」 第2幕~夜の女王のアリア is unknown right now. Although the tone can be danceable to some, this track does projects more of a negative sound rather than a postive one.
The tempo marking of 歌劇「魔笛」 第2幕~夜の女王のアリア by 佐藤美枝子, ジェイムズ・ロックハート, フィルハーモニア管弦楽団 is Adagio (slowly with great expression), since this song has a tempo of 71 テンポ. With that information, we can conclude that the song has a slow tempo. The time signature for this track is 4/4.
F Major is the music key of this track. This also means that this song has a camelot key of 7B. So, the perfect camelot match for 7B would be either 7B or 8A. While, 8B can give you a low energy boost. For moderate energy boost, you would use 4B and a high energy boost can either be 9B or 2B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 7A or 6B will give you a low energy drop, 10B would be a moderate one, and 5B or 12B would be a high energy drop. Lastly, 4A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Otello, Act IV: Ave Maria | Giuseppe Verdi, 佐藤しのぶ, フィルハーモニア管弦楽団, ピンカス・スタインバーグ | D♭ Major | 1 | 3B | 88 BPM | ||
Iphigénie en Tauride, Wq. 46 (Excerpts): Patrie infortunée | Christoph Willibald Gluck, Munich Radio Orchestra, Lamberto Gardelli, Pilar Lorengar | G Major | 1 | 9B | 86 BPM | ||
Bach, CPE: Magnificat in D Minor, Wq. 215: VI. Deposuit potentes | Carl Philipp Emanuel Bach, Geraint Jones, Helen Watts, Wilfred Brown, Geraint Jones Orchestra | F Major | 1 | 7B | 85 BPM | ||
Il Pirata, Act I: Parlarti ancor per poco | Vincenzo Bellini, Felice Romani, Javier Camarena, Franco Vassallo, Marina Rebeka, Sonia Fortunato, Gustavo de Gennaro, Antonio Di Matteo, Fabricio Maria Carminati, Orchestra del Teatro Massimo Bellini di Catania | F Major | 3 | 7B | 171 BPM | ||
Serse, HWV 40, Act I: O voi, che penate (Romilda, Arsamene, Elviro, Serse) | George Frideric Handel, Ann Murray, Ivor Bolton, Christopher Robson, Patricia Bardon, Umberto Chiummo, Yvonne Kenny, Julie Kaufmann, Jan Zinkler, Chor der Bayerischen Staatsoper, Bavarian State Orchestra | E Minor | 2 | 9A | 147 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 | ||
Strauss II, J: La chauve-souris, Act 1: Couplets. "Eh quoi ! Monsieur, supposez-vous..." (Caroline, Alfred, Tourillon) | Johann Strauss II, Franck Pourcel, Jacqueline Brumaire, Michel Roux, Remy Corazza, Orchestre De La Société Des Concerts Du Conservatoire | G Major | 1 | 9B | 80 BPM | ||
Piano Concerto No. 2 in C Minor: III. Andante | Emil von Sauer, Simon Callaghan, Sinfonieorchester St. Gallen, Modestas Pitrenas | A Minor | 1 | 8A | 91 BPM | ||
Orphée aux enfers, ACT 1, Premier tableau: la campagne aux environs d'Athènes: Viens! Viens! c'est l'honneur (L'Opinion Publique/Orphee) | Jacques Offenbach, Yann Beuron/Eva Podles/Orchestre de l'Opéra National de Lyon/Orchestre de Chambre de Grenoble/Marc Minkowski/Sharman Plesner, Marc Minkowski, Sébastien Rouland, Choeur & Orchestre De L'Opéra National De Lyon, Orchestre de Chambre de Grenoble, Orchestre De L'Opéra National De Lyon | A♭ Major | 3 | 4B | 126 BPM | ||
Fausto, Act IV: Stretta. A morte vergognosa! | Louise Bertin, Karine Deshayes, Les Talens Lyriques, Christophe Rousset | B Major | 5 | 1B | 98 BPM |