- Released: September 11, 2012
- Label: Island UK
Entertainment Weekly - 8/7/92, p.60
"..Mercury's reverence for [Caballe] and his flair for kitsch make this a novelty item too cracked to resist.." - Rating: B
Stereo Review (12/92, p.100) - "..a unique souvenir of Mercury, and its posthumous release is a touching way of saying 'Vaya con Dios' to a uniquely gifted rock showman.."
- 2.La Japonaise
- 3.The Fallen Priest
- 5.The Golden Boy
- 6.Guide Me Home
- 7.How Can I Go On
- 8.Exercises In Free Love
- 9.Overture Piccante
- 10.How Can I Go On (feat. David Garrett)
This is a collection of Spanish and American songs by Queen's lead singer Freddie Mercury and opera singer Montserrat Caballe.
Personnel: Freddie Mercury, Montserrat Caballe (vocals); Homi Kanga, Laurie Lewis (violin); Deborah Ann Johnson (cello); Barry Castle (horn); Mike Moran (keyboards); John Deacon (bass); Frank Ricoffi (percussion); Madeline Bell, Debbie Bishop, Lance Ellington, Miriam Stockely, Peter Straker, Mark Williamson, Carol Woods (background vocals).
Recorded at The Townhouse Studios, London, England and Mountain Studios, Montreux, Switzerland.
Personnel: Freddie Mercury (background vocals); Hana Jouzová, Lucie Navrátilová (harp); Naoki Kikuchi (koto); Jan Jouza, Frantisek Eret, Petr Novobilsky, Pavel Kutman, Vlastimil Zeman, Josef Bauer, Marcel Kozánek, Petr Hlavác, Jan Dudek, Miroslav Vilimec, Antonin Burda, Lubos Dudek, Jaroslav Ko An, Jan Pet Ik, Jan Ludvík, Frantisek Havlín, Eva Rohanová, Ester Kabátová, David Vorá, David Sroubek, Anna Va Ková, Zden K Zelba, Zden K Stary, Vladimír Ku Era, Václav Prudil, Rita Epur Enko, Pavel Herajn, Otakar Bartos, Martin Pachner, Mark?ta Dobesová, Marie Va Ková, Lucie Sedláková H Lová, Jind Ich Vácha, Jiljí Teringer, Ji I Sev Ik Skoda, Josef Riedbauch, Eva Nykrynová (violin); Radim Sedmidubsky, Jaromír Pávi?ek, Pavel Ciprys, Vladimir Bazant, Martin Jirka, Dominik Trávnícek, Ji I Kabát, Jan Mare Ek, Eduard Vaní Ek, Pavel Ho Ejsí, Ond Ej Kames, Old Ich Smola, Ji I Poslední (viola); Petr Malísek, David Havelík, Martin Sedlák, Barbora Svycarská, Jaroslav Ondrá Ek, Jaroslav Mat Jka, Helena P Ihodová, Vladimír S Va, Roman Stehlík, Petra Malísková, Petr Sporcl, Petr Houdek, Michaela Zelenková (cello); Robert Heger, Petra Ho Anková, Martin Klimánek, Mario Mesany (flute); Jan Mach, Ales Hustoles, Vlastimil Mares, Michal Kostiuk, Miroslav Plechty (clarinet); Jana Brozkova, Jitka Tomsicková, Radim Kocina, Lib Na S?quardtová (oboe); Svatopluk Eech (bassoon, percussion); Lumír Van K (bassoon); Marek Vajo, Svatopluk Zaal, Frantisek Bilek, Lubos Jurní Ek (trumpet); Petr Hernych, Frantisek Langweil, Blanka Vojtísková, Zuzana Rzounková, Tomás Kirschner, Pavel Douba (French horn); Ji I Novotny, Jan Triebenekl, Frantisek Zazvonil, Tomás Ehák, Petr Ihák (trombone); Karel Malimánek (tuba); Mike Moran (piano, Hammond b-3 organ); Jaromír Klepá (celesta); Ivan Hoznedr, Miroslav Kejmar, Oleg Sokolov, Karel Fingl, Ji I Svoboda (percussion).
Liner Note Author: Rhys Thomas.
Recording information: Air Edel Studios, London; Dean St Studios, London; Mountain Studios, Montreux; Ripe Records, Radlett; Smecky Studio, Prague; Townhouse Studios, London; Wisseloord Studios, Hilversum, The Netherlands.
Photographers: Terry O'Neill ; Richard Young .
Arrangers: Mike Moran ; Freddie Mercury.
With Barcelona, Queen singer Freddie Mercury realized his long-lived dream of performing with an opera singer; in this case, Montserrat Caballe. While it's certainly a treat for any fan of Mercury's to hear this album, it's a difficult record to recommend. Most fans of opera will probably find it far too simplistic and pop-based, while many rock fans are sure to find the record too classical. The first half of the album, however, is deserving of a spin for any open-minded listener. Consisting of semi-operatic melodies with grand production, songs like "Barcelona" and the Eastern-sounding "La Japonaise" are startling in their beauty; the two singers from opposite ends of the music spectrum working surprisingly well off each other. The most classically operatic pieces of the project, "Ensueno" and "The Fallen Priest," are alternately gorgeous and powerfully dramatic. Unfortunately, the second half of the album is less successful as it reverses the formula of the first half. While Mercury can do well in semi-operatic settings, Caballe sounds awkward on the more pop-oriented tracks "Guide Me Home" and "How Can I Go On." "The Golden Boy," largely a gospel track with a full choir, is well-written and performed by Mercury, but Caballe's voice is simply not suited for the genre and the operatic opening sounds jarring against the gospel midsection. Nonetheless, despite its weaknesses, the record contains some beautiful and passionate music that is unlike anything most fans of rock and pop are likely to have heard before. For that alone it should be commended. ~ Geoff Orens