Bohemian Rhapsody Musik
Auf diesen Moment haben die Fans von Queen gewartet: Mit der Veröffentlichung des offiziellen Soundtracks zum Kinofilm Bohemian Rhapsody erscheinen. Queen knackt YouTube-Rekord: „Bohemian Rhapsody“ erreicht eine Milliarde Freddie Mercury ist das umsatzstärkste Musik-Biopic der Filmgeschichte. Now I'm Here (Live At Hammersmith Odeon)
Bohemian Rhapsody: The Original SoundtrackDoing All Right revisited (Performed by Smile) Die beliebteste Musik bei Thalia ✓»Bohemian Rhapsody - The Original Soundtrack«von Queen und weitere Singles und Alben auf CD, DVD oder Vinyl online. Bohemian Rhapsody (Original Soundtrack). Musik zum biographischen Filmdrama von Bryan Singer über die Geschichte von Freddie Mercury. Queen.
Bohemian Rhapsody Musik Machine Gun Kelly To Publish Graphic Novel Based On ‘Hotel Diablo’ Album VideoQueen - Bohemian Rhapsody [High Definition]
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He recalls "Freddie was a very complex person: flippant and funny on the surface, but he concealed insecurities and problems in squaring up his life with his childhood.
He never explained the lyrics, but I think he put a lot of himself into that song. Despite this, critics, both journalistic and academic, have speculated over the meaning behind the song's lyrics.
Some believe the lyrics describe a suicidal murderer haunted by demons or depict events just preceding an execution.
The latter explanation points to Albert Camus 's novel The Stranger , in which a young man confesses to an impulsive murder and has an epiphany before he is executed, as probable inspiration.
When the band released a Greatest Hits cassette in Iran, a leaflet in Persian was included with translation and explanations refers to a book published in Iran called The March of the Black Queen by Sarah Sefati and Farhad Arkani, which included the whole biography of the band and complete lyrics with Persian translation In the explanation, Queen states that "Bohemian Rhapsody" is about a young man who has accidentally killed someone and, like Faust , sold his soul to the devil.
On the night before his execution, he calls for God saying, " Bismillah " "In the name of God" in Arabic , and with the help of angels, regains his soul from Shaitan the devil in Islam.
Other critics interpreted the lyrics as Mercury's way of dealing with personal issues. She suggests that the song provides an insight into Mercury's emotional state at the time, "living with Mary 'Mamma', as in Mother Mary and wanting to break away 'Mamma Mia let me go' ".
When the band wanted to release the single in , various executives suggested to them that, at 5 minutes and 55 seconds, it was too long and would never be a hit.
Audience demand intensified when Everett played the full song on his show 14 times in two days. Drew managed to get a copy of the tape and started to play it in the States, which forced the hand of Queen's US label, Elektra.
In an interview with Sound on Sound , Baker reflects that "it was a strange situation where radio on both sides of the Atlantic was breaking a record that the record companies said would never get airplay!
Following Everett's escapade in October , Eric Hall , a record plugger, gave a copy to David "Diddy" Hamilton to play on his weekday Radio One show.
Hall stated "Monster, Monster! This could be a hit! The song became the UK Christmas number one , holding the top position for nine weeks.
The second was upon its re-release as a double A-side single with " These Are the Days of Our Lives " in following Mercury's death, staying at number one for five weeks.
In the United States, the single was also a success, although to a lesser extent than in the UK. The single, released in December , reached number nine on the Billboard Hot and was certified gold by the Recording Industry Association of America for sales of one million copies.
The song re-entered the Billboard Hot chart after 16 years, reaching number two and spending 17 weeks on the chart, with a year-end chart position of After the release of the Queen biopic named after the song , it re-entered the charts for a third time at No.
Though some artists had made video clips to accompany songs including Queen themselves; for example, their earlier singles " Keep Yourself Alive ", " Liar ", " Seven Seas of Rhye " and " Killer Queen " already had "pop promos", as they were known at the time , it was only after the success of "Bohemian Rhapsody" that it became a regular practice for record companies to produce promotional videos for artists' single releases.
A promo video also allowed the artist to have their music broadcast and accompanied by their own choice of visuals, rather than dancers such as Pan's People.
According to May, the video was produced so that the band could avoid miming on Top of the Pops since they would have looked off miming to such a complex song.
The band used Trillion, a subsidiary of Trident Studios , their former management company and recording studio.
They hired one of their trucks and got it to Elstree Studios , where the band was rehearsing for their tour. The video opens with a shot of the four band members in near darkness as they sing the a cappella part.
The lights fade up, and the shots cross-fade into close-ups of Freddie. The composition of the shot is the same as Mick Rock 's cover photograph for their second album Queen II.
The photo, inspired by a photograph of actress Marlene Dietrich , was the band's favourite image of themselves.
In the opera section of the video, the scene reverts to the Queen II standing positions, after which they perform once again on stage during the hard rock segment.
In the closing seconds of the video Roger Taylor is depicted stripped to the waist, striking the tam tam in the manner of the trademark of the Rank Organisation 's Gongman , familiar in the UK as the opening of all Rank film productions.
All of the special effects were achieved during the recording, rather than editing. The visual effect of Mercury's face cascading away during the echoed lines "Magnifico" and "Let me go" was accomplished by pointing the camera at a monitor, giving visual feedback , a glare analogous to audio feedback.
The honeycomb illusion was created using a shaped lens. The video was edited within five hours because it was due to be broadcast the same week in which it was taped.
The video was sent to the BBC as soon as it was completed and aired for the first time on Top of the Pops in November The most obvious difference is the flames superimposed over the introduction as well as several alternative camera angles.
Although the song has become one of the most revered in popular music history,  the initial critical reaction was mixed.
The UK music papers reacted with bemusement, recognising that the song was original and technically accomplished, but they mostly remained indifferent.
Pete Erskine of NME observed that, "It'll be interesting to see whether it'll be played in its entirety on the radio.
It's performed extremely well, but more in terms of production than anything else Someone somewhere has decided that the boys' next release must sound 'epic'.
And it does. They sound extremely self-important. Allan Jones of Melody Maker was unimpressed, describing the song as "a superficially impressive pastiche of incongruous musical styles" and that Queen "contrived to approximate the demented fury of the Balham Amateur Operatic Society performing The Pirates of Penzance It's likely to be a hit of enormous proportions despite its length.
There's no denying that it's devilishly clever, encompassing everything from bits of operatic harmonies to snatches that sound like Sparks and David Cassidy , but, in the end the whole adds up to less than the sum of its parts.
In , when asked for his opinion on "Bohemian Rhapsody", the Beach Boys ' leader Brian Wilson praised the song as "the most competitive thing that's come along in ages" and "a fulfillment and an answer to a teenage prayer—of artistic music".
Addressing the song's enduring popularity, author and music lecturer Jochen Eisentraut wrote in "A year before punk made it unfashionable, progressive rock had an astounding success with the theoretically over-length nearly 6-minute single 'Bohemian Rhapsody' which bore many of the hallmarks of the 'prog' genre".
He said it was "unique at this point to hear a hit single in this style", it was "more accessible than other music of the genre" and was "able to communicate beyond the usual confines of the style".
In , The Guardian ' s music critic, Tom Service , examined the song's relationship with the traditions of classical music , describing its popularity as "one of the strangest musical phenomena out there":.
The precedents of Bohemian Rhapsody are as much in the 19th-century classical traditions of rhapsodic, quasi-improvisational reveries—like, say, the piano works of Schumann or Chopin or the tone-poems of Strauss or Liszt —as they are in prog-rock or the contemporary pop of That's because the song manages a sleight of musical hand that only a handful of real master-musicians have managed: the illusion that its huge variety of styles—from intro, to ballad, to operatic excess, to hard-rock, to reflective coda—are unified into a single statement, a drama that somehow makes sense.
It's a classic example of the unity in diversity that high-minded musical commentators have heard in the symphonies of Beethoven or the operas of Mozart.
And that's exactly what the piece is: a miniature operatic-rhapsodic-symphonic-tone-poem. A comparison was also made between the song and Led Zeppelin 's epic " Stairway to Heaven " by music writers Pete Prown and HP Newquist.
They observed both songs were "a slow, introspective beginning and gradual climb to a raging metal jam and back again", with the notable distinction being "while Zeppelin meshed folk influences with heavy metal, Queen opted for the light grandeur of the operetta as part of its hard rock".
They said "for sheer cleverness alone, not to mention May's riveting electric work, 'Bohemian Rhapsody' rightfully became one of the top singles of and established Queen in the elite of seventies rock bands".
In , The Economist described it as "one of the most innovative pieces of the progressive rock era". It wrote "though Led Zeppelin's John Paul Jones and the Beatles ' Paul McCartney had experimented with symphonic elements, and Roger Waters of Pink Floyd and Pete Townshend of the Who had created narrative albums with distinct 'movements', none had had the audacity to import a miniature opera into rock music.
In , the song enjoyed renewed popularity in the United States after being featured in a scene in the film Wayne's World , in which the titular character and his friends headbang in a car to the rock part near the end of the song.
Mike Myers insisted that the song fit the scene. Gracyk suggests that beginning the tape in the middle of the song after "the lyrics which provide the song's narrative In connection with this, a new video was released, interspersing excerpts from the film with footage from the original Queen video, along with some live footage of the band.
Myers was horrified that the record company had mixed clips from Wayne's World with Queen's original video, fearing that this would upset the band.
He said, "they've just whizzed on a Picasso. The band, though, sent a reply simply saying, "Thank you for using our song. The Wayne's World video version of "Bohemian Rhapsody" won Queen its only MTV Video Music Award for " Best Video from a Film ".
In the Queen biopic Bohemian Rhapsody , Myers has a cameo as a fictional record executive who pans the song and refuses to release it as a single, proclaiming that it is too long for radio and that it is not a song that "teenagers can crank up the volume in their car and bang their heads to", a reference to the iconic scene in Wayne's World.
The song has won numerous awards and has been covered and parodied by many artists. In "Bohemian Rhapsody" received two Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices.
The winners were Chicago's "If You Leave Me Now," and Starland Vocal Band's "Afternoon Delight," respectively. In , the song was inducted into the Grammy Hall of Fame.
In December , "Bohemian Rhapsody" officially became the most-streamed song from the 20th century, surpassing Nirvana's " Smells Like Teen Spirit " and Guns N' Roses' " Sweet Child o' Mine ".
In a poll of more than 50, readers of The Observer newspaper and viewers of British TV's Channel 4 for the best number-one singles of all time, the song came second to John Lennon 's " Imagine ".
In , it came in 10th in a BBC World Service poll to find the world's favourite song. In , the song topped an ITV poll in the UK to find "The Nation's Favourite Number One" over 60 years of music, ahead of Michael Jackson 's " Billie Jean " No.
Over two dozen artists have recorded or performed cover versions of "Bohemian Rhapsody", including charted single releases by:. A video cover featuring The Muppets also went viral  and was subsequently released as a single in late , peaking at UK To mark the 40th anniversary of "Bohemian Rhapsody", the song was released on a limited edition 12" vinyl with the original B-side "I'm In Love With My Car" on 27 November for Record Store Day Queen also released A Night At The Odeon, Live At Hammersmith 75 , on CD , DVD-Video and Blu-ray.
This includes the first live "professionally" recorded performance of "Bohemian Rhapsody". The a cappella opening was too complex to perform live, so Mercury tried various ways of introducing the song.
When the song "Mustapha" became a live favourite, Mercury would often sub in that song's a cappella opening, which was easier to reproduce live as it was only one voice.
During the Hot Space Tour , and occasionally at other times, Mercury would do a piano improvisation generally the introduction to "Death on Two Legs" that ended with the first notes of the song.
Often, the preceding song would end, and Mercury would sit at the piano, say a quick word, and start playing the ballad section.
Initially following the song's release, the operatic middle section proved a problem for the band. Because of extensive multi-tracking, it could not be performed on stage.
The band did not have enough of a break between the Sheer Heart Attack and A Night at the Opera tours to find a way to make it work live, so they split the song into three sections that were played throughout the night.
The opening and closing ballads were played as part of a medley, with " Killer Queen " and "March of the Black Queen" taking the place of the operatic and hard rock sections.
In concerts where the same medley was played, the operatic section from the album would be played from tape as the introduction to the setlist. During this playback, Mercury would appear briefly to sing live for the line, "I see a little sillhouetto of a man".
Starting with the A Day at the Races Tour in , the band adopted their lasting way of playing the song live. The opening ballad would be played on stage, and after Brian May's guitar solo, the lights would go down, the band would leave the stage, and the operatic section would be played from tape, while coloured stage lights provided a light show based around the voices of the opera section.
Most playings of the opera section from the tape would often be accompanied by a portion of the song's music video containing the footage used for the operatic portion of the song.
Other playings would be played over montages of footage filmed from the band members' other experiences throughout their daily lives. A blast of pyrotechnics after Roger Taylor's high note on the final "for me" would announce the band's return for the hard rock section and closing ballad.
Queen played the song in this form all through the Magic Tour of This style was also used for the Freddie Mercury Tribute Concert , with Elton John singing the opening ballad and then after the taped operatic section, Axl Rose singing the hard rock section.
John and Rose sang the closing ballad part together in a duet. As with the Queen tours, the band went backstage for the operatic section, which was accompanied by a video tribute to Freddie Mercury.
When the hard rock section began, the lights came back up to the full band on stage, including Rodgers, who took over lead vocals.
Rodgers duetted with the recording of Mercury for the "outro" section, allowing the audience to sing the final "Nothing really matters to me", while the taped Mercury took a bow for the crowd.
Rodgers would then repeat the line, and the final line "Any way the wind blows" was delivered with one last shot of Mercury smiling at the audience.
Commenting upon this staging, Brian May says that they "had to rise to the challenge of getting Freddie in there in a way which gave him his rightful place, but without demeaning Paul in any way.
It also kept us live and 'present', although conscious and proud of our past, as we logically should be.
I always wanted to do something operatic. I wanted something with a mood setter at the start, going into a rock type of thing which completely breaks off into an opera section, a vicious twist and then returns to the theme.
I don't really know anything about opera myself. Just certain pieces. I wanted to create what I thought Queen could do. It's not authentic… certainly not.
It's no sort of pinch out of Magic Flute. It was as far as my limited capacity could take me. I'm going to shatter some illusions, it was just one of those pieces I wrote for the album: just writing my batch of songs.
In its early stages I almost rejected it, but then it grew. We started deciding on a single about halfway through. There were a few contenders—we were thinking of " The Prophet's Song " at one point—but then "Bohemian Rhapsody" seemed the one.
There was a time when the others wanted to chop it around a bit, but I refused. If it was going to be released, it would be in its entirety.
We knew it was very risky, but we had so much confidence in that song—I did anyway. I felt, underneath it all, that if it was successful it would earn a lot of respect.
People were all going, You're joking, they'll never play it, you'll only hear the first few bars and then they'll fade it out.
We had numerous rows. EMI were shocked—a six-minute single? You must be joking! The same in America—oh, you just got away with it in Britain.
When we finished the album, the Night at the Opera album, that was the track on it that we thought we were gonna release as a single in the UK first.
And when we released it in Britain we didn't necessarily think it'd be released in America, cause we know even over here, you know, the AM tastes are even more [hesitates] stricter.
Anyway we did have thoughts about even in the UK, perhaps editing it down at all, but we listened to it over and over again and there was no way we could edit it.
We tried a few ideas, but if you edited it, you always lost some part of the song, so we had to leave it all in. And luckily it took off anyway.
The vocal harmonies was something we wanted to do from the beginning, as we are always keen to do that kind of thing.
We wanted to be a group that could do the heaviness of hard rock, but also have harmonies swooping around all over the place.
We thought there was some real power and emotion in that combination. The guitar solo was pretty much off the cuff, except I think I had plenty of time to think about that one.
I remember playing along with it in the studio for a while when other things were being done. I knew what kind of melody I wanted to play. From Wikipedia, the free encyclopedia.
For other uses, see Bohemian Rhapsody disambiguation. The operatic segment enters immediately as May's solo abruptly concludes.
This vast shift in style is just one example of how the song rapidly changes throughout its running time. It's one of those songs which has such a fantasy feel about it.
I think people should just listen to it, think about it, and then make up their own minds as to what it says to them I did a bit of research although it was tongue-in-cheek and mock opera.
Why not? See also: List of Bohemian Rhapsody cover versions. This Section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. In live performances, the operatic segment would be played from tape as it was too complicated for the band to perform live.
As the heavy rock segment followed, the band would return to the stage. Archived from the original on 24 September Retrieved 24 August The Guardian.
Archived from the original on 19 December Retrieved 23 August The Accessibility of Music: Participation, Reception, and Contact.
Cambridge University Press. Digital Spy. Archived from the original on 10 November Retrieved 25 September Archived from the original on 30 November Retrieved 7 August Guitar World.
Archived from the original on 8 October Retrieved 7 November Rolling Stone. Archived from the original on 4 January Retrieved 4 January Archived from the original on 11 March Retrieved 17 December Official Charts Company.
Archived from the original on 22 December Retrieved 19 December Archived from the original on 16 December Jenny Ealing Art College Student uncredited Bobby Shue Queen Fan uncredited Lee Simmons Club Doorman uncredited Dave Simon Man in Pub uncredited Amanda Smith Concert Goer uncredited Garry Summers Voice Doctor uncredited Wei-Chen Sun Concert Goer uncredited Winson Ting Mannequin uncredited Scott Morrison Watson Steve uncredited Dean Weir Journalist uncredited Stuart Whelan Concert Goer uncredited Aidan White Mel Smith uncredited Ian Jareth Williamson College Student uncredited Ryan Wiseman VIP Party Guest uncredited Connor Wolf Madison Square Garden Concert Goer uncredited Sarah Woodruff English Woman uncredited Miroslav Zaruba Singing Russian Soldier uncredited Joanna Zwierzynska Arnon Milchan Floor Runner Zoe Liang Set PA: 2nd Unit Dailies Katrina Mense-Chase Set PA Andy Young Intern James Flanagan VFX Runner George Arun ScreenX senior producer Chris Clarke Halo VFX: Exec Producer Alex Drinkall IT Support: Dneg Joseph Farrant Line Producer Dushyant Kashyap ScreenX producer Duncan Kinnaird Look Development Lead: Double Negative Udaya Kumar Visual Effects Department Production Manager: Dneg Sydney Dimitra Kyrtsia ATD Marco Lee Software Developer Mikil Mistry Line Producer Buchi Ramulu Narsingoju Matchmove Artist Balasubramani Parthasarathy VFX Production Manager David Singer DFX Supervisor Jha Swagat Prep Artist: DNEG Bhaskaran Umesh Ncam Assistant uncredited May Leung BTS camera operator Seth Crosby HOD Practical Lighting Electrician Steve Forey Costume Junior Ellen Crawshaw Dolby Vision engineer Kevin Fairfax Harwood Composer: Trailer Music Kris Fredriksson Music Executive uncredited Rebecca Morellato Queen archive consultant Oliver Brown Co-President of Worldwide Marketing John Carbine British Sign Language Interpreter Catherine Francis Construction medic Moira Houlihan O'Sullivan April Kiss Fletcher as Joseph Madden Carmen Marina Singer Michael Schaefer King Iain Silvester Singer Tom Westgate Live Aid crowd singing voice uncredited A.
Edit page. Biography movies. Filmes drama. Share this page:. Clear your history. Freddie Mercury. Roger Taylor. John Deacon as Joe Mazzello.
Paul Prenter. Bomi Bulsara. Kashmira Bulsara. Kenny Everett. Tim Staffell. Brazilian Crewman. Mary's Father.
Heathrow Baggage Handler. Reporter 4 as Patrick Lally. Shelley Stern. German TV Journalist. Hospital Doctor as Ian Gabriel.
Young Man at Clinic. Smile Audience Member. Live Aid Organiser as Drew P. Roger's Girlfriend 1. Roger's Girlfriend 2. Engineer at Studio.
Young Farrokh. Live TV Director. Technical Director. Sound Engineer in Truck uncredited. Meat Packer uncredited.Label: Universal Bestellnummer: Erscheinungstermin: Das Duett von Freddie Mercury und May in Love of My Life stammt vom Festival Rock in Rio Französischer Zirkus Januar Auf: irishcharts. November