The song is taken from Quinn’s first album entitled “ Doing it my Way” which was released in 2007 and sold 127.000 copies in the first week.
Spectre film soundtrack series#
While the extract is very short, is is listed on IMDB as being a version by British singer Ray Quinn who participated in the third series of The X Factor in 2006, finishing in second place behind Leona Lewis. When he switches on “Atmosphere”, the first notes of the famous Liza Minelli song “New York, New York” are briefly heard. New York, New York – Ray Quinnĭuring the car chase in Rome, Bond tries to activate the gadgets of the Aston Martin DB10 one by one. The music can be heard when Lucia Sciarra (Monica Bellucci) returns to her villa.Ĭum dederit dilectis suis somnum: ecce haereditas Domini, filii: merces, fructus ventris.įor he has granted to those he loves rest: behold an inheritance from the Lord – sons: a reward, the fruit of the womb. The version heard in “Spectre” is performed by German countertenor Andreas Scholl, a classical singer in the alto vocal range, together with the Australian Brandenburg Orchestra under the direction of its Artistic Director and conductor Paul Dyer.
‘ Cum dederit‘, written in the slow siciliana style, features chromatically ascending lines that Vivaldi often used to convey the idea of rest and sleep. It’s a long and very ambitious piece whose nine movements vary enormously in their style and scoring. The music’s celebratory theme grates against the violence and anger inherent in the action.Vivaldi’s setting of Nisi Dominus (Psalm 126 in the Vulgate) dates from fairly early on his career possibly for the Pietà which produced not only excellent singers but also superbly talented instrumentalists. Instead of the celebration we see in “Traviata,” the meeting is one of hate and danger.
As is the case with Alfredo and Violetta, who meet at a big party, Bond meets his match at a party as well. What is also interesting about this sequence and the choice of “Libiamo,” a toast to new love (Violetta and Alfredo are meeting for the first time), is that this insertion follows Bond’s meeting with Oberhauser, the head of Spectre and his new adversary. Stereotypical as it may seem, it is likely more aimed at quickly immersing the viewer in Italy. Since the sequence is set in Italy, it is no surprise that Mendes chooses the first thing most people might associate with the country – opera (that is also likely one of the reasons that we hear the Vivaldi in the Bellucci sequence again and the never hear opera again for the balance of the movie). Regardless of your feelings about this approach, Mendes’ intent is clear and this sequence is a perfect example of that.
“Spectre,” as opposed to the preceding films featuring Daniel Craig as Bond, really tries to feature campy humor, a wink at earlier films in the franchise. The music counterpoints the tension-filled sequence and corresponding soundtrack, emphasizing the comedic elements of the contrast. The music playing on the radio? The brindisi from “La Traviata” as performed by Joan Sutherland and Luciano Pavarotti. Suddenly they turn into an alleyway and Bond meets his match – a civilian just driving calmly home. Bond is driving away from the villainous Hinx who is in hot pursuit. The other major instance of opera in the film comes in a completely different fashion. It also prepares the audience for what we know comes next – a romantic scene between this lady and our hero. What the music ultimately does instead is express the romantic allure of Lucia, played by the legendary Monica Bellucci. The mourning vocal lines set a tone of darkness and yearning. The camera tracks with her and on the soundtrack we hear the voice of Andreas Scholl singing “Cum Dederit” by Vivaldi. It’s night and she is walking through her mansion. The first of these comes in the first half when Bond saves Lucia, the wife of a crime lord he recently murdered. There are two distinct instances in which the operatic voice takes centerstage on the musical soundtrack. The same happens in Sam Mendes’ “Spectre” which also utilizes opera, though in a radically different way than “Quantum of Solace.” The film, as noted in said article was not one of the greatest quality, particularly when compared with the two Bond films immediately before and after it. Not too long ago, we took a look at how “Quantum of Solace” beautifully employed “Tosca” in a key action sequence. This week’s installment features Sam Mendes ’“ Spectre. 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. “Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema.
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