"Saint-Saëns: Samson et Dalila, Op. 47, Act II, Scene 3: Air. "Mon cœur s'ouvre à ta voix" (Dalila, Samson)" by Camille Saint-Saëns, Myung-Whun Chung, Plácido Domingo, Waltraud Meier, Orchestre de l'Opéra National de Paris was released on 1992. Saint-Saëns: Samson et Dalila, Op. 47, Act II, Scene 3: Air. "Mon cœur s'ouvre à ta voix" (Dalila, Samson) is about six minutes long, preciously at 6:03, making this song fairly long compared to other songs. There are a total of 31 in the song's album "Saint-Saëns: Samson et Dalîla". In this album, this song's track order is #9. Furthermore, we believe that the track originated from France. Saint-Saëns: Samson et Dalila, Op. 47, Act II, Scene 3: Air. "Mon cœur s'ouvre à ta voix" (Dalila, Samson) 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.
With Saint-Saëns: Samson et Dalila, Op. 47, Act II, Scene 3: Air. "Mon cœur s'ouvre à ta voix" (Dalila, Samson) by Camille Saint-Saëns, Myung-Whun Chung, Plácido Domingo, Waltraud Meier, Orchestre de l'Opéra National de Paris having a テンポ of 80 with a half-time of 40 テンポ and a double-time of 160 テンポ, 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.
D♭ Major is the music key of this track. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Turandot / Act 1: "Ah! Per L'Ultima Volta" | Giacomo Puccini, Montserrat Caballé, Luciano Pavarotti, Piero de Palma, Pier Francesco Poli, Tom Krause, Nicolai Ghiaurov, John Alldis Choir, London Philharmonic Orchestra, Zubin Mehta | F Major | 2 | 7B | 170 BPM | ||
Violin Concerto In D Major, Op. 61 | Berliner Philharmoniker, Yehudi Menuhin & Festival Orchestra Lucerne | B♭ Major | 2 | 6B | 95 BPM | ||
Puccini: La rondine, Act 1: "Chi il bel sogno di Doretta" (Magda) | Giacomo Puccini, Kiri Te Kanawa, Kent Nagano, Orchestre de l'Opéra de Lyon | F Major | 2 | 7B | 168 BPM | ||
Carmen, WD 31 / Act I: Chanson et Duo: "Près des remparts de Séville" | Georges Bizet, Teresa Berganza, Plácido Domingo, London Symphony Orchestra, Claudio Abbado | D Major | 0 | 10B | 76 BPM | ||
Orff: Carmina Burana, Pt. 3, Cour d'amours: In trutina | Carl Orff, Sir Simon Rattle, Sally Matthews, Berliner Philharmoniker | E Minor | 2 | 9A | 99 BPM | ||
Tosca / Act 1: "Recondita armonia" | Giacomo Puccini, José Carreras, Domenico Trimarchi, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis | E♭ Major | 2 | 5B | 102 BPM | ||
Vier Lieder, Op. 27, TrV 170: 4. Morgen | Richard Strauss, Renée Fleming, English Chamber Orchestra, Jeffrey Tate | G Major | 3 | 9B | 76 BPM | ||
Carmina Burana / III. Cour d'amours: "In trutina" | Carl Orff, Gundula Janowitz, Orchester der Deutschen Oper Berlin, Eugen Jochum | G Major | 0 | 9B | 89 BPM | ||
Hai luli | Pauline Viardot, Cecilia Bartoli, Myung-Whun Chung | G Minor | 1 | 6A | 100 BPM | ||
Donizetti: Lucia di Lammermoor, Act 1: "Regnava nel silenzio alta la notte e bruna" (Lucia, Alisa) | Gaetano Donizetti, Maria Callas, Margreta Elkins, Tullio Serafin, Philharmonia Orchestra | D♭ Major | 1 | 3B | 74 BPM |