Freddie Mercury And Montserrat Caballe Barcelona Special Edition - 2012 Better [best]
The centerpiece of this transformation is the 80-piece Prague FILMharmonic Orchestra, which brought a new level of depth and drama to every track. In addition to the sweeping strings and majestic brass, the 2012 special edition introduced other live elements for the first time, including authentic percussion, a koto on "La Japonaise," and even a violin solo from classical star David Garrett on "How Can I Go On".
The gospel choir backing vocals are perfectly balanced against a thundering acoustic rhythm section.
John Deacon’s original bass lines and the piano/vocal arrangement for "Ensueño" were kept to maintain the core of the original performances. The centerpiece of this transformation is the 80-piece
The live orchestra injects a profound sense of drama and melancholy that the 1988 version lacked. In tracks like "Guide Me Home" and "The Fallen Priest," the sweeping arrangements provide a cinematic scale. The music feels less like an 80s studio experiment and more like a timeless stage production. 3. Timelessness Over Nostalgia
: Flew to London to play the (a traditional Japanese instrument) for "La Japonaise," replacing the original synth patches. John Deacon’s original bass lines and the piano/vocal
Replacing synthetic bleeps with real strings, woodwinds, brass, and timpani provides a massive, sweeping acoustic space that matches the sheer power of the vocals.
It respects the power of Mercury’s gritty rock tenor and Caballé’s pure soprano without the distracting sheen of late-80s production. It adds context, alternate takes, and the ghost of what should have been—Freddie singing for the world one last time. The music feels less like an 80s studio
In the 1988 original, the drums and percussion were largely programmed. In 2012, those were replaced with live percussion, performed by Rufus Taylor (son of Queen drummer Roger Taylor).
The most significant change was the complete removal of the 1988 synthetic rhythm section. In its place, Morley and his team recorded a live, full symphony orchestra (the Roky Erickson Orchestra in Prague). The drums became acoustic, the basslines warm and organic, and the synth pads were replaced by real strings and brass. Tracks like “Ensueño” (a Mercury-penned Spanish lullaby) and “Overture Piccante” suddenly breathed with a cinematic sweep. Caballé’s voice, previously competing with artificial reverb, now floated naturally above a lush, living orchestra. Mercury’s piano, which had been buried in the mix, was brought forward, revealing his classical sensitivity.
: New instrumental layers were added, such as a traditional koto played by Naoko Kikuchi on "La Japonaise" and a violin solo by David Garrett on "How Can I Go On".
To appreciate the 2012 edition, one must understand the original context. Mercury, a classically trained pianist and lover of opera, had long dreamed of fusing rock’s visceral energy with opera’s dramatic grandeur. After hearing Caballé sing Verdi’s “Un ballo in maschera” in London, he was determined to meet her. When they finally connected, he played a rough tape of a song he had written for her. Caballé, impressed by his raw talent and respect for her craft, famously replied, “You are a great singer, Mr. Mercury. You can do whatever you want.” The result was an album recorded in fits and starts between Queen tours and Caballé’s operatic engagements.