"At The Opera ("Faust" Opera)" by Elmer Bernstein, C. F. Gounod had its release date on 1993. The duration of This song is about 3 minutes long, at 3:10. Based on our data, This song appears to be safe for all ages and is not considered explicit. This track is about the average length of a typical track. There are a total of 29 in the song's album "The Age Of Innocence Original Motion Picture Soundtrack". In this album, this song's track order is #2. Furthermore, we believe that the track originated from United States. The popularity of At The Opera ("Faust" Opera) is currently 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 At The Opera ("Faust" Opera) by Elmer Bernstein, C. F. Gounod having a BPM of 170 with a half-time of 85 BPM and a double-time of 340 BPM, we would consider this track to have a Vivace (lively and fast) tempo marking. Because of this, we believe that the song has an overall fast tempo. The time signature for this track is 4/4.
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.
Want to find the BPM and music key for other songs? Check out our BPM and Key Finder page!
| Track | Artist | Key | Energy | Camelot | BPM | ||
|---|---|---|---|---|---|---|---|
| Le Matin | Goran Bregović | D♭ Minor | 0 | 12A | 81 BPM | ||
| Vivaldi: Gloria in D Major, RV 589: I. Gloria in excelsis Deo | Antonio Vivaldi, Sir Neville Marriner, Academy Chorus of St Martin in the Fields, Academy of St. Martin in the Fields | D Major | 3 | 10B | 126 BPM | ||
| Lakmé: Viens, Mallika - Sous le dôme épais | Léo Delibes, Susanne Elmark, Maria Kontra, Sønderjyllands Symfoniorkester, Robert Reimer | B Major | 1 | 1B | 89 BPM | ||
| Keyboard Suite in D Minor, HWV 437: III. Sarabande (Arr. P. Breiner for Orchestra) | George Frideric Handel, Kiev Virtuosi Chamber Orchestra, Dmitry Yablonsky | B Minor | 0 | 10A | 128 BPM | ||
| The 4 Seasons: Violin Concerto in F Minor, Op. 8, No. 4, RV 297, "L'inverno" (Winter): I. Allegro non molto | Antonio Vivaldi, Jindrich Pazdera, Accademia Ziliniana | B Major | 8 | 1B | 136 BPM | ||
| Saint-Saëns: Samson et Dalila, Op. 47, Act 2: Air. "Mon cœur s'ouvre à ta voix" (Dalila, Samson) | Camille Saint-Saëns, Sir Colin Davis, Olga Borodina, José Cura, London Symphony Orchestra | D♭ Major | 1 | 3B | 129 BPM | ||
| Stabat Mater: 4. Quae moerabat | Giovanni Battista Pergolesi, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | E♭ Major | 1 | 5B | 75 BPM | ||
| Vocalise | Wojciech Kilar, Sumi Jo | A Minor | 2 | 8A | 109 BPM | ||
| Hasta El Último Suspiro - Tema Incluido En La B.S.O. De La Película "La Sombra De La Ley" | Manuel Riveiro, Ainhoa Arteta | B Minor | 3 | 10A | 74 BPM | ||
| Barcarolle: Belle nuit, ô nuit d’amour (Les Contes d’Hoffmann) | Jacques Offenbach, Fatma Said, Sascha Goetzel, Orchestre Philharmonique de Monte-Carlo | D Major | 1 | 10B | 129 BPM | ||
| Stabat Mater, P. 77: XII. Quando corpus - Amen | Giovanni Battista Pergolesi, Margaret Marshall, Lucia Valentini Terrani, Leslie Pearson, London Symphony Orchestra, Claudio Abbado | B♭ Minor | 1 | 3A | 121 BPM | ||
| Tu viendras | Zbigniew Preisner | G Major | 1 | 9B | 76 BPM | ||
| The Poems Written in Life Lines Are Not Guaranteed | Rob Simonsen | C Minor | 2 | 5A | 118 BPM | ||
| George's Waltz (II) | Shigeru Umebayashi | E Minor | 2 | 9A | 138 BPM | ||
| Main Title | Elmer Bernstein | A Major | 0 | 11B | 80 BPM | ||
| Bach, JS: Wachet auf, ruft uns die Stimme, BWV 140: No. 4, Choral. "Zion hört die Wächter singen" | Consortium Musicum, Wolfgang Gönnenwein, Suddeutscher Madrigalchor | E♭ Major | 1 | 5B | 66 BPM | ||
| Die tote Stadt, Act I: Mariettas Lied | Erich Wolfgang Korngold, Nicola Benedetti, Bournemouth Symphony Orchestra, Kirill Karabits | B♭ Major | 3 | 6B | 94 BPM | ||
| Die Rheinnixen: Komm zu uns und sing und tanze | Jacques Offenbach, Wiener Philharmoniker, Tugan Sokhiev, Vienna Boys' Choir | D Major | 0 | 10B | 142 BPM | ||
| 6 Gesänge, Op. 7: No. 3, Anklange | Johannes Brahms, Juliane Banse, Andreas Schmidt, Helmut Deutsch | C Major | 0 | 8B | 64 BPM | ||
| Strange Funeral / After the Brawl | Elmer Bernstein | E♭ Major | 1 | 5B | 123 BPM | ||
| Fashion Show, Pt. 1 | Zbigniew Preisner | G Major | 1 | 9B | 91 BPM | ||
| Main Title: Dixie, Mammy, Tara, Rhett (From "Gone With The Wind") | Charles Gerhardt, National Philharmonic Orchestra | F Major | 3 | 7B | 85 BPM | ||
| " Orpheus und Eurydike " : Ach, ich habe sie verloren | Pro Musica Symphony Orchestra Hamburg, Pietro des Monaco | C Major | 3 | 8B | 77 BPM | ||
| Bach, JS: Matthäus-Passion, BWV 244, Pt. 2: No. 39, Aria. "Erbarme dich" | Johann Sebastian Bach, Theo Altmeyer/Franz Crass/Teresa Zylis-Gara/Julia Hamari/Nicolai Gedda/Hermann Prey/Hans Sotin/Süddeutscher Madrigalchor/Consortium Musicum/Wolfgang Gönnenwein, Julia Hamari, Wolfgang Gönnenwein, Consortium Musicum | G Major | 2 | 9B | 79 BPM | ||
| Habanera | Aggelina Papadopoulou | B Major | 1 | 1B | 94 BPM |