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BOHEMIAN RHAPSODY

Freddie Mercury era todavía Farrokh Bulsara y la música que daba vueltas en su cabeza aquel 1968, mientras estudiaba en Earling Art College, se llamaba “The Cowboy’s Song”. Poco después, cuando ya había hecho el cambio legal de su nombre y era parte de la banda Queen,  a comienzos de los ’70, le habló al guitarrista Brian May  de esa canción que lo atraía y a la vez le causaba cierta perplejidad. Parecía un rompecabezas cuyas piezas no encajaban del todo. Pero tenía algo.

Pocos años después, cuando el éxito del disco Sheer Heart Attack les otorgó cierto margen de libertad creativa en la discográfica, Mercury pensó en retomarla. El nuevo nombre provisorio fue “Real Life”. Un día llegó a la sala de ensayos con un manojo de hojas para anotar mensajes telefónicos tomadas del trabajo de su padre, Bomi Bulsara. Pegó los papelitos en el piano, se sentó y comenzó a golpear las teclas con fuerza. “Tocaba el piano como la mayoría de la gente toca la batería», dijo May en una entrevista para la revista Q en 2008.

«La canción estaba llena de cortes; nos explicaba que ahí iba algo estilo ópera, y cosas así. Había creado las armonías en su cabeza”, recordó la presentación que Mercury hizo ante la banda. Creía que tenía materiales suficientes para tres singles pero lo atraía más la idea de mezclarlos en algo más espectacular.

Esa idea predominó y así nació Bohemian Rhapsody, una mini ópera rock de 5:55 minutos que se convirtió en una de las canciones claves del siglo XX. Y en el XXI, luego de la biopic (película biográfic) sobre Mercury que dirigió Bryan Singer y protagonizó Rami Malek, y usó el nombre del hit, superó 1.600 millones de reproducciones en distintas plataformas de streaming. YouTube mejoró el video oficial con el anuncio “¡Remasterizado en HD para celebrar 1.000 millones de vistas!”. Es, de todas las canciones del siglo pasado, la de más streaming en este.

Mercury ya llevaba más de 25 años muerto, pero en el momento de la salida de la canción —y del álbum del que fue parte, A Night at the Opera— el éxito brutal de la pieza hizo innecesaria esta fama póstuma. El single salió el 31 de octubre de 1975; fue la primera canción número uno que la banda logró en Estados Unidos, y en el Reino Unido se mantuvo al tope durante nueve semanas consecutivas.

“Freddie era una persona muy compleja: se mostraba frívolo y divertido en la superficie, pero ocultaba inseguridades y problemas», agregó May. “Nunca nos explicó la letra de ‘Bohemian Rhapsody’, pero creo que puso mucho de sí en esa canción».

Y puso también mucho del venero de la producción musical: voz humana sola, un instrumento extremadamente potente y complejo; ritmo de balada, casi lo contrario; muchos elementos del rock —el protagónico de la guitarra, entre los más destacados; recursos del metal, recursos del glam—, ópera y un acto final que cerró con un gong.

Pocos antes habían hecho algo con ese nivel de osadía: una canción era una canción, sobre todo si quería entrar en la lista de más escuchadas. Estaba “Good Vibrations”, de los Beach Boys; y sobre todo The Beatles habían grabado —pero, bueno, eran The Beatles— “A Day in the Life”. Cuando Mercury, May, el baterista Roger Taylor y el bajista John Deacon se encerraron en Rockfield Studios, en Gales, la perspectiva de una grabación de tal complejidad técnica era una visita al infierno. (Donde, dicho sea de paso, Queen acababa de estar: los ensayos sucedieron en Surrey, en el estudio de Ridge Farm, a mediados de 1975, para agotamiento de los cuatro músicos.) Quizá más notable sea que, además de precursores, «Bohemian Rhapsody tuvo descendencia: difícilmente habría, por ejemplo, “Paranoid Android”, de Radiohead, sin ella.

En 1975 la tecnología sólo permitía hacer un registro analógico con una cantidad limitada de pistas, una cantidad ridícula en un estudio actual de grabación digital. Un caso ejemplar: “Sgt. Pepper’s” se había grabado en cuatro pistas en 1967. Pero Queen terminó por fusionar 180 pistas originales —en su mayoría de voces y de guitarras— en dos cintas de 24.

Lo hicieron literalmente a mano, con el método de reducción de pistas: al reducir varias en una, queda lugar para una combinación con otra: y esa que quedaba se combinaba, del mismo modo, en otra reducción, y así. A veces las mezclas derivadas implicaban cortar un segmento de registro y pegarlo con cinta adhesiva a otros.

En la grabación analógica una aguja trabajaba la superficie de una cinta sensible: “Lo hicimos tantas veces que se desgastaban”, recordó May. “Una vez pusimos un segmento de cinta contra la luz y vimos que estaba casi translúcido, la música casi se había esfumado”.

Pero Mercury —agregó May— “sabía exactamente lo que estaba haciendo, nosotros sólo lo ayudamos a darle vida». Les llevó trabajos vocales de entre 10 y 12 horas por día —sólo la parte operística requirió 70 horas— y un total de tres semanas.

La película Bohemian Rhapsody narró también el desgaste de la paciencia de los músicos: “¡No lo puedo hacer más agudo, no van a poder escuchar ni los perros!», se quejó el personaje de Taylor en la escena sobre la grabación de la palabra “Galileo”. El hombre del científico Galilei —tal vez un guiño de Mercury a May, porque el guitarrista había abandonado, aunque luego completó, la carrera de astrofísica— resultó de alto consumo. “Cada vez que Fred decidía agregar unos Galileos más, también perdíamos algo”.

Al fin se llegó a la versión final, que se perfeccionó en otros cuatro estudios de sonido. Y llegó el día de escucharla montada, completa, en su extensión total.

“Nadie sabía realmente de qué manera iba a sonar como una canción de seis minutos”, recordó el productor Roy Thomas Baker en la publicación Performing Songwriter. “Me quedé al fondo del cuarto de control y sin más supe que estaba escuchando por primera vez algo que sería una gran página en la historia”. Según UDiscoverMusic Björn Ulvaeus, de ABBA confesó una enorme envidia: “Era una pieza de pura originalidad que sacó al rock y al pop de su senda”.

Algo que no agradó a la discográfica. Un buen single tenía un límite: tres minutos. Taylor contó a Jon Kutner y Spencer Leigh para el libro 1000 hits número 1 en el Reino Unido que ningún ejecutivo de EMI quiso escuchar siquiera que “Bohemian Rhapsody” fuera el corte elegido para promover el disco. “Decían que era demasiado largo, que no funcionaría. Pensamos ‘Bueno, podríamos cortarlo, pero no tendría sentido’”, recordó. “Se perderían todos los diferentes ánimos de la canción. Así que dijimos que no”.

Deacon, May, Taylor y Mercury en Les Ambassadeurs, en 1976, para la celebración de los discos de plata, oro y platino que rápidamente acumuló «Bohemian Rhapsody». (Andre Csillag/Shutterstock)

Al otro lado del Atlántico también les repitieron el manual: tres minutos como máximo. Mercury se negó. “Si se iba a difundir, sería completa. Sabíamos que era algo muy peligroso, pero teníamos tanta confianza en esa canción, o yo tenía”, recordó en 1976. “En los Estados Unidos nos dijeron: ‘Se salieron con la suya, pero eso fue en Inglaterra’”.

Hoy, sin embargo, nadie recuerda la versión de 3:18 minutos que Deacon hizo para el lanzamiento de la canción en Francia. Nadie, ni siquiera los franceses: la entera, de 5:55 minutos, es la que eligió la historia.

Aunque —recordó NME,  Elton John, que compartía con Queen el manager, John Reid, había profetizado que nunca se lograría escuchar “Bohemian Rhapsody” en la radio, Kenny Everett, amigo de Mercury, la pasó en la emisora Capital. “Podría durar una hora. Va a ser un número uno durante siglos”, dijo el DJ la primera vez que la pinchó. Volvió a pasarla, y lo hizo de nuevo, en el fin de semana del lanzamiento: 14 veces en total. Pronto comenzó a sonar en todas partes. Fue número 1.

Everett tenía razón. Cuando Mercury murió, en 1991, volvió al primer puesto, como lado B de “These Are The Days of Our Lives”. Al año siguiente, Wayne’s World la devolvió al público en un contexto menos trágico: se volvió a editar el single, y llegó al segundo lugar. En 2002 una encuesta Guinness la ubicó como la canción favorita de todos los tiempos en Gran Bretaña (seguida por “Imagine”, de John Lennon, y “Hey, Jude”, de The Beatles), y de hecho es la número 3 en el ranking histórico de hits en ese país. El desempeño de Mercury fue el mejor de todos los tiempos según la revista Rolling Stone. Elton John con Axl Rose, Panic! at the Disco, The Braids, Molotov, The Flaming Lips, Pink y hasta Kanye West, por no mencionar a los Muppets, le han hecho covers. Y ahora la película que lleva su nombre —por cuyo protagónico Malek ganó el Oscar, entre otros premios— le abrió camino otra vez al favor del público.

En comparación con el costo de A Night At The Opera, que se convirtió en el álbum más caro hasta aquel entonces gracias al escándalo de días y estudios que requirió “Bohemian Rhapsody”, el del video que Bruce Gowers hizo sobre la canción fue simbólico: 3.500 libras. Se filmó en tres horas, al cabo de las cuales los músicos y el equipo se fueron al pub.

El clip resistió el paso del tiempo —es el que se ve en YouTube— y el primer vivo de la canción también está entre los favoritos de los admiradores: es la prueba de sonido de la presentación del disco, que se lanzó como DVD deluxe con el título A Night at the Odeon. Pero el fetiche definitivo es un vinilo azul, edición limitada de 200 copias numeradas hecha en 1978, que cotiza a unos USD 5.000.

Un misterio, sin embargo, se mantiene fresco como el poder de “Bohemian Rhapsody”: ¿qué significa la canción? Además de probar el talento de Mercury, ¿es un homenaje a “Hungarian Rhapsody”, una composición de Franz Liszt? Irwin Fisch, compositor y profesor en NYU, dijo a Busines Insider que implicó el ingreso de la tradición de suites en la música pop: “No una canción continua, no verso-coro, verso-coro, puente, etcétera, que era la norma. En esencia es una agrupación montada de diferentes canciones”. Mercury describió la obra como “una experimentación con el sonido”. Fisch evaluó que “el experimento consistía en ver si podía sacar lo que había en su cabeza, los arreglos y el sonido».

Las primeras palabras, “Mamma, just killed a man”, ¿evocan acaso El extranjero, la novela de Albert Camus, en la que también un hombre mata y no puede explicar por qué lo hizo? Muchos se inclinan por ver en el asesino y el cadáver a la misma persona, a Mercury mismo, en su salida del clóset: el nuevo yo mata al viejo yo. Donde esos exégetas ven referencias religiosas (Bismillah significa “en el nombre de Alá”; Belcebú es uno de los nombres del Demonio), Mercury sostenía que sólo había “tonterías al azar con rima”.

En una entrevista para Queen Videos Greatest Hits, May dijo: “No creo que alguna vez sepamos de qué se trata ‘Bohemian Rhapsody’, y si yo lo supiera probablemente no querría decirlo, porque ciertamente no le cuento a la gente de que van mis canciones. Siento que eso las destroza, de algún modo».

Sus palabras fueron como un eco de las de Mercury en vida, quien se negó a quitarle el signo de interrogación al asunto: “Es una de esas canciones que tiene tanto de fantasía, ¿no? Creo que las personas podrían escucharla, pensarla y entonces decidir qué significa para ellas”.

Significado de la Obra

La película Bohemian Rhapsody, se estrenó un 31 de octubre porque el single de la canción que da nombre al filme se escuchó por primera vez el 31 de octubre de 1975. Se titula así porque una «Rapsodia» es una pieza musical libre compuesta en diferentes partes y temas en que ninguna parte tiene relación con la otra. La palabra «Rapsodia»proviene del griego y significa «partes ensambladas de una canción». La palabra «Bohemian» hace referencia a una región de la República Checa llamada Bohemia, lugar donde nació Fausto, el protagonista de la obra que lleva su nombre escrita por el dramaturgo y novelista Goethe.

En la obra de Goethe, Fausto era un anciano muy inteligente que sabía todo excepto el misterio de la vida. Al no comprenderlo decide envenenarse. Justo en ese instante suenan las campanas de la iglesia y sale a la calle. De vuelta a su habitación, se encuentra que hay un perro, El animal se transforma en una especie de hombre. Se trata del diablo Mefistófeles. Éste, promete a Fausto vivir una vida plena y no ser desgraciado a cambio de su alma. Fausto accede, rejuvenece y se vuelve arrogante. Conoce a Gretchen y tienen un hijo. Su mujer e hijo fallecen.

Fausto viaja a través del tiempo y espacio y se siente poderoso. Al hacerse nuevamente viejo se siente desgraciado otra vez. Como no rompió el pacto con el diablo, los ángeles se disputan su alma. Esta obra es esencial para comprender Bohemian Rhapsody..

La canción habla del propio Freddie Mercury. Al ser una rapsodia nos encontramos con 7 partes diferentes:

1er y 2o acto A Capella
3er acto Balada
4o acto solo de guitarra
5o acto Opera
6o acto Rock
7o acto «Coda» o acto final

La canción habla de un pobre chico que se cuestiona si esta vida es real o es su imaginación distorsionada la que vive otra realidad. Dice que aunque él deje de vivir, el viento seguirá soplando sin su existencia. Así que hace un trato con el diablo y vende su alma. Al tomar esta decisión, corre a contárselo a su madre y le dice…»Mamá, acabo de matar a un hombre, le puse una pistola en la cabeza y ahora está muerto. He tirado mi vida a la basura. Si no estoy de vuelta mañana sigue hacia adelante como si nada importara»… Ese hombre q mata es a él mismo, al propio Freddie Mercury.

Si no cumple el pacto con el diablo, morirá inmediatamente. Se despide de sus seres queridos y su madre rompe a llorar, lágrimas y llanto desesperado que proviene de las notas de guitarra de Brian May. Freddie, asustado grita «mamá no quiero morir» y empieza la parte operística.

Freddie se encuentra en un plano astral donde se ve a sí mismo: «I see a little silhoutte of a man (veo la pequeña silueta de un hombre)».. «Scaramouche, vas a montar una disputa/pelea? Scaramouche es «escaramuza» una disputa entre ejércitos con jinetes a caballo (4 jinetes del Apocalipsis del mal luchan contra las fuerzas del bien por el alma de Freddie) y sigue diciendo «Thunderbolt and lightning very very frightening me» (truenos y relámpagos me asustan demasiado). Esta frase aparece en la Biblia, exactamente en Job 37 cuando dice…»the thunder and lightning frighten me: my heart pounds in my chest» (el trueno y el relámpago me asustan: mi corazón late en mi pecho). Su madre al verle tan asustado por la decisión que ha tomado su hijo, suplica lo salven del pacto con Mefistófeles. «Es sólo un pobre chico…Perdona su vida de esta mostruosidad. Lo que viene fácil, fácil se va ¿le dejarás ir?» sus súplicas son escuchadas y los ángeles descienden para luchar contra las fuerzas del mal. Bismillah (palabra árabe que significa «En el nombre de Dios») es la palabra que aparece en el libro sagrado de los musulmanes, el Corán. Así que el mismísimo Dios aparece y grita «no te abandonaremos, dejadle marchar». Ante tal enfrentamiento entra las fuerzas del bien y del mal, Freddie teme por Ia vida de su madre y la dice «Mama mia, mama mia let me go» (madre, déjame marchar)
Vuelven a gritar desde el cielo que no van a abandonarle y Freddie grita «no, no, no, no, no» y dice «Belcebú (el señor de las Tinieblas) es posible q haya puesto un diablo contigo madre». Freddie rinde aquí homenaje a Wolfgang Amadeus Mozart y Johann Sebastian Bach cuando canta…

«Figaro, Magnifico» haciendo referencia a «Las Bodas de Figaro» de Mozart, considerada la mejor ópera de la historia, y al «Magnificat» de Bach. Termina la parte operística e irrumpe la parte más rockera. El diablo, colérico y traicionado por Freddie al no cumplir el pacto, le dice:

“Crees q puedes insultarme de esta manera? Crees que puedes acudir a mi para después abandonarme? “Crees que puedes amarme y dejarme morir? Es estremecedor cómo el señor del mal se siente impotente ante un ser humano, ante el arrepentimiento y el amor.

Perdida la batalla, el diablo se marcha y se llega al último acto o «coda» donde Freddie está libre y esa sensación le reconforta. Suena el gong q cierra la canción. El gong es un instrumento utilizado en China y extremo oriente asiático para sanar a personas q están bajo los efectos de espíritus malignos.
5:55 minutos dura. A Freddie le gustaba la astrología y el 555 en numerología está asociado con la muerte, no física, sino espiritual, el final de algo donde los ángeles te salvaguardarán. 555 está relacionado con Dios y lo divino, un final que dará comiendo a una nueva etapa.

Y la canción suena la víspera de los santos por 1a vez. Una festividad llamada «Samhain» por los celtas para celebrar la transición y apertura al otro mundo. Los celtas creían q el mundo de los vivos y de los muertos estaban casi unidos, y el día de difuntos ambos mundos se unían permitiendo que los espíritus transitaran al otro lado. Nada en Bohemian Rhapsody es casual. Todo está muy medido, trabajado y tiene un sentido que trasciende más allá de ser una simple canción. Ha sido votada a nivel mundial como la mejor canción de todos los tiempos.

 

Acerca de Aurelio Paredes

Periodista de Profesión (Licenciado en Comunicación Social, graduado en la Universidad de Guayaquil), ecuatoriano de nacimiento, 59 años de edad y 37 años de experiencia. Empezó en 1982 como reportero radial y escaló posiciones hasta llegar a ser Editor de Deportes de Diario El Universo de Guayaquil, considerado el matutino de mayor circulación en Ecuador; Director de Revista Estadio (Deportiva) y Editor de Revista Vistazo (Política y Actualidad); presentador de televisión en varios programas deportivos; columnista de deportes y páginas humorísticas bajo el seudónimo de Delado; y guionista empírico en algunos programas de la televisión ecuatoriana. En la función pública fue Director de Comunicación de la Procuraduría General del Estado y en la empresa privada, Director de la Federación Deportiva Nacional del Ecuador.

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