Opera Meets Film: Vivica Genaux Provides A Moment of Serenity in Suspense-Ridden ‘Fracture’

By David Salazar

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Gregory Hoblit’s “Fracture.”

Willy Beachum, a hotshot lawyer from the DA’s office and protagonist of “Fracture,” is meeting with his prospective new bosses at a concert. He’s just met Nikki Gardner, his supervisor, and there is a hint of attraction between them. He’s wearing a tuxedo. He’s won almost all of his cases to date. Things are looking up for him.

To accentuate this, director Gregory Hoblit introduces a scene featuring mezzo-soprano Vivica Genaux performing “Ombra Fedele anch’io” from Broschi’s “Idapse.”

The music actually wades in in the background while Beachum is in the lobby, the mystery of Genaux’s distant voice setting up the next scene where a low-angle medium shot of the singer is the first thing we see.

The artist established, the scene cuts back to the audience to watch as Beachum sits. He takes a look over to his right and the camera dollies right until it stops on Gardner, who is watching the performance closely. The music connects them in the moment and when they glance at one another throughout the remainder of the scene the connection is furthered.

In the scene prior there was some rather subtle flirtation but nothing overly serious. In fact, it wouldn’t be a big deal if you didn’t anticipate the romantic subplot between these two characters from that scene. But this one is different. This moment, backed by the soothing voice of Genaux, creates a different emotional situation between the two; their glances give the viewer a sense of romantic longing.

The piece itself is also a perfect complement to the scene as its own text seems to be speaking for Beachum. The character in the aria states that he’ll be a faithful shadow that will follow his beloved idol to the bank of the Lethe.

It is the only scene in the film where there is no double-crossing or lying on the part of any character. These themes permeate the remainder of the film; the fact that any suggestion of opera ever returns in the musical cues of the film only underline it’s particular and unique importance in this moment.

You can watch the scene below.

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