Here’s a solid, unbiased review of the (released to coincide with the 2012 Olympics and the 25th anniversary of the original album).
: Flew to London to play the (a traditional Japanese instrument) for "La Japonaise," replacing the original synth patches.
It is "better" because it fulfills the original promise of the collaboration: two of the greatest voices of the 20th century, unmediated by 1980s production gimmicks. It is raw. It is real. And when the final piano chord fades on Take 2, you are left not with the memory of a pop song, but the ghost of two friends singing for their lives. Here’s a solid, unbiased review of the (released
Beyond the strings, the album features live percussion by Rufus Taylor (son of Queen's Roger Taylor) and a guest violin solo by David Garrett on "How Can I Go On".
While the 1988 original was a groundbreaking fusion of rock and opera, it relied heavily on keyboards due to time and budget constraints. The 2012 "New Orchestrated Version" elevates the album through several key upgrades: Authentic Orchestration Prague FILMharmonic Orchestra It is raw
The 2012 Special Edition of Barcelona is not merely a better-sounding album; it is a better album. It rescues a visionary collaboration from the sonic limitations of its era and reveals the timeless songwriting and vocal brilliance at its core. It replaces 1980s artificiality with orchestral warmth, adds haunting new context with unreleased tracks, and allows listeners to hear Mercury and Caballé as they truly were: two supreme vocalists, from opposite worlds, meeting on the common ground of passion and artistry. More than two decades after Mercury’s death, this edition proved that his final studio project was not a strange detour but a magnificent peak—a duet reborn, and now immortal.
The Prague FILMharmonic Orchestra replaced the synthesizers and samplers used by Mercury and Mike Moran. Morley used classical references like Rimsky-Korsakov and Tchaikovsky to re-score the music. Beyond the strings, the album features live percussion
The original 1988 mix was a product of its time. It was big, but it was also bright . Digital reverb soaked the drums, and the orchestral arrangement sometimes felt like it was competing with Freddie’s microphone.