Original image

The Late Movies: Happy Birthday, Freddie Mercury

Original image

Today would have been Freddie Mercury's 66th birthday. We lost him in 1991, the year before Wayne's World brought his opus "Bohemian Rhapsody" to a new generation. Mercury had a stunning voice, spanning four octaves, and his stage presence was sized to match. To blow your mind, check out this vocals-only track from "Under Pressure" (with David Bowie). I have advanced it to the point where Mercury belts out his insane "whyyyyyyyyyyyy!" This.

Now, let's settle in for some Queen classics, and raise a toast to Freddie.

"Under Pressure" (Live at Wembley Stadium, 1986)

I love his call-and-response with the crowd at the beginning, and especially the way he ends it. He's an unbelievably powerful performer.

"We are the Champions"

"Bad mistakes, I've made a few." Arguably the white jean shorts were a mistake, but this performance rules.

"Bohemian Rhapsody"

"Nothing really matters." The second segment appears to be pre-recorded...and then the pyrotechnics start. Note that the video seems to repeat, the second time (around 5:30) without sound. Just stop watching at that point.

"I Want to Break Free" (Live at Wembley Stadium, 1986)

"God knows I want to break free!"

"Another One Bites the Dust" (Live at the Bowl)

Freddie's trousers mesmerize me.

"Somebody To Love" (Live at the Bowl)

"Free, I tell ya!"

"Crazy Little Thing Called Love" (Live At The Bowl)

"This is for anybody who's crazy out there!"

65th Birthday Video

This tribute video was assembled last year. Lovely stuff, with a variety of perfectly placed f-bombs.

"Heroes" (Freddie Mercury Tribute Concert)

While not a Queen song, this Bowie + Queen performance is a fitting tribute to the man.

"Under Pressure" (Freddie Mercury Tribute Concert)

Okay, one more. Queen + Bowie + Annie Lennox. Divine and heartbreaking. "These are the days it never rains, but it pours."

See also: The Freddie Mercury Tribute Concert Was 20 Years Ago Today (from April of this year).

Original image
Big Questions
What's the Difference Between an Opera and a Musical?
Original image

They both have narrative arcs set to song, so how are musicals different from operas?

For non-theater types, the word “musical” conjures up images of stylized Broadway performances—replete with high-kicks and punchy songs interspersed with dialogue—while operas are viewed as a musical's more melodramatic, highbrow cousin. That said, The New York Times chief classical music critic Anthony Tommasini argues that these loose categorizations don't get to the heart of the matter. For example, for every Kinky Boots, there’s a work like Les Misérables—a somber, sung-through show that elicits more audience tears than laughs. Meanwhile, operas can contain dancing and/or conversation, too, and they range in quality from lowbrow to highbrow to straight-up middlebrow.

According to Tommasini, the real distinguishing detail between a musical and an opera is that “in opera, music is the driving force; in musical theater, words come first.” While listening to an opera, it typically doesn’t matter what language it’s sung in, so long as you know the basic plot—but in musical theater, the nuance comes from the lyrics.

When it comes down to it, Tommasini’s explanation clarifies why opera stars often sing in a different style than Broadway performers do, why operas and musicals tend to have their trademark subject matters, and why musical composition and orchestration differ between the two disciplines.

That said, we live in a hybrid-crazy world in which we can order Chinese-Indian food, purchase combination jeans/leggings, and, yes, watch a Broadway musical—like 2010's Spider-Man: Turn Off the Dark—that’s billed as “rock opera.” At the end of the day, the lack of hard, fast lines between opera and musical theater can lead composers from both camps to borrow from the other, thus blurring the line even further.

Have you got a Big Question you'd like us to answer? If so, let us know by emailing us at

Original image
Lost Gustav Holst Music Found in a New Zealand Symphony Archive
Original image

English composer Gustav Holst became famous for his epic seven-piece suite "The Planets," but not all of his works were larger-than-life. Take "Folk Songs from Somerset," a collection of folk tunes composed by Holst in 1906 and largely forgotten in the decades since. Now, more than a century later, the music is finally attracting attention. As Atlas Obscura reports, manuscripts of the songs were rediscovered among a lost collection of sheet music handwritten by the musician.

The Holst originals were uncovered from the archives of a New Zealand symphony during a routine cleaning a few years ago. While throwing away old photocopies and other junk, the music director and the librarian of the Bay of Plenty (BOP) Symphonia came across two pieces of music by Holst. The scores were penned in the composer’s handwriting and labeled with his former address. Realizing the potential importance of their discovery, they stored the documents in a safe place, but it wasn't until recently that they were able to verify that the manuscripts were authentic.

For more than a century, the Holst works were thought to be lost for good. "These manuscripts are a remarkable find, particularly the ‘Folk Songs from Somerset’ which don’t exist elsewhere in this form," Colin Matthews of London's Holst Foundation said in a statement from the symphony.

How, exactly, the documents ended up in New Zealand remains a mystery. The BOP Symphonia suspects that the sheets were brought there by Stanley Farnsworth, a flutist who performed with an early version of the symphony in the 1960s. “We have clues that suggest the scores were used by Farnsworth,” orchestra member Bronya Dean said, “but we have no idea how Farnsworth came to have them, or what his connection was with Holst.”

The symphony plans to mark the discovery with a live show, including what will likely be the first performance of "Folk Songs from Somerset" in 100 years. Beyond that, BOP is considering finding a place for the artifacts in Holst’s home in England.

[h/t Atlas Obscura]


More from mental floss studios