THE MOVEMENT BEHIND THE MELODY
At the heart of the timepiece is the in-house, manually wound Caliber JCAM62. Comprising 510 components, excluding the pins on the barrel, it operates at 3Hz, or 21,600 vibrations per hour, and incorporates a one-minute flying tourbillon. Supported only from below, the tourbillon has no upper bridge, leaving its rotating cage fully visible.
The calibre has two separate power reserves. One provides 72 hours of power for the timekeeping movement, while the other holds enough energy for up to 10 musical performances. Dedicated indicators show the remaining reserve for each system. At 4 o’clock, a round aperture indicates the status of the main movement with a gear symbol and blinds. A second aperture at 8 o’clock tracks the music box: a red rose appears when it is fully wound, changing to a musical note as its reserve is depleted.
Fitting the music-box mechanism, going train and flying tourbillon into a comparatively compact case required considerable miniaturisation. Encoding both compositions on a single barrel saves valuable space within the movement. The complexity of bringing these elements together is reflected in the lengthy development process. “We designed a refined, 1930s-inspired case and spent three years developing a movement that could play two melodies, while ensuring the watch remained wearable,” Arabo said.
The focus on wearability marks a departure from the original Opera Godfather. At 49mm, the earlier timepiece paired a triple-axis tourbillon with a movement that rotated as the music played. By contrast, The Godfather II has a curved 42mm by 44mm rose gold case designed to sit more comfortably on the wrist. Its rectangular profile and stepped geometry draw on Art Deco design, giving the case a more formal, architectural character.