{"id":289308,"date":"2026-09-05T19:05:11","date_gmt":"2026-09-05T19:05:11","guid":{"rendered":"https:\/\/www.europesays.com\/ro\/289308\/"},"modified":"2026-09-05T19:05:11","modified_gmt":"2026-09-05T19:05:11","slug":"povestea-lui-freddie-mercury-de-la-farrokh-bulsara-la-wembley-de-ce-a-refuzat-lectiile-de-canto-si-cum-s-a-nascut-bohemian-rhapsody","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ro\/289308\/","title":{"rendered":"Povestea lui Freddie Mercury, de la Farrokh Bulsara la Wembley: de ce a refuzat lec\u021biile de canto \u0219i cum s-a n\u0103scut \u201eBohemian Rhapsody\u201c"},"content":{"rendered":"

Pe 5 septembrie 2026 se \u00eemplinesc 80 de ani de la na\u0219terea lui Freddie Mercury, vocea emblematic\u0103 a trupei Queen. De la copil\u0103ria din Zanzibar la scena de la Live Aid, povestea artistului care a schimbat istoria muzicii continu\u0103 s\u0103 fascineze genera\u021bii.<\/p>\n

\"Freddie <\/p>\n

Freddie Mercury \u00een anii \u201970. Foto: Getty Images<\/p>\n

publicitate”); background-position: center center; background-repeat: no-repeat;”><\/p>\n

Wembley, 13 iulie 1985. 21 de minute \u00een care istoria muzicii se opre\u015fte, ridic\u0103 privirea \u015fi ia noti\u0163e. Dup\u0103 o pauz\u0103 de doi ani \u00een care fusese blamat\u0103 de presa occidental\u0103 deoarece c\u00e2ntase \u00een Africa de Sud, ignor\u00e2nd boicotul interna\u0163ional impus regimului apartheidului, Queen urc\u0103 pe scen\u0103 la spectacolul \u201eLive Aid\u201c. Freddie Mercury iese \u00een fa\u0163\u0103, \u00eembr\u0103cat simplu: blugi \u0219i maiou alb. Prive\u015fte mul\u0163imea de oameni din stadion, ridic\u0103 un bra\u0163 \u015fi 70.000 de bra\u0163e se ridic\u0103. Scoate un sunet \u015fi \u00eel a\u015fteapt\u0103 \u00eenapoi, ca pe un ecou. Brian May, Roger Taylor \u015fi John Deacon c\u00e2nt\u0103 \u00een fundal cu o precizie \u015fi o energie pe care le sim\u0163i chiar \u015fi \u00een \u00eenregistr\u0103rile \u015fterse ale vremii. Dar privirea tuturor e pe omul din fa\u0163\u0103, pe Farrokh Bulsara din Zanzibar, care a ales s\u0103 devin\u0103 altcineva \u015fi a reu\u015fit at\u00e2t de bine \u00eenc\u00e2t originalul s-a dizolvat aproape cu totul. <\/p>\n

La cap\u0103tul celor 21 de minute, Queen nu mai avea nevoie de reabilitare. \u00ce\u015fi f\u0103cuse dreptate singur\u0103. 40 de ani mai t\u00e2rziu, acel moment nu \u015fi-a pierdut vigoarea, iar pe platformele digitale clipul str\u00e2nge, \u00een continuare, milioane de vizualiz\u0103ri \u00een fiecare lun\u0103.<\/p>\n

Zanzibar \u0219i calea c\u0103tre numele de zeu <\/p>\n

Povestea lui Freddie Mercury \u00eencepe \u00eentr-un loc care miroase a cui\u015foare, ap\u0103 s\u0103rat\u0103 \u015fi lemn vechi \u00eencins de soare. Zanzibar \u2013 insul\u0103 \u00een largul coastei est-africane, unde Oceanul Indian \u00ee\u015fi pierde din grab\u0103 \u2013 era, pe 5 septembrie 1946, un amestec improbabil de lumi care nu se dizolvaser\u0103 cu totul una \u00een alta: arab\u0103, african\u0103, britanic\u0103 \u015fi indian\u0103, fiecare cu arhitectura ei, cu mirosurile ei, cu muzica ei de strad\u0103. Stone Town, ora\u015ful vechi, era un labirint de u\u015fi sculptate \u015fi balcoane \u00eenguste \u015fi pie\u0163e \u00een care se vorbeau simultan mai multe limbi. Nu era un loc din care s\u0103 pleci cu o identitate clar\u0103. Era un loc din care plecai cu mai multe, suprapuse, niciuna complet\u0103.<\/p>\n

publicitate”); background-position: center center; background-repeat: no-repeat;”><\/p>\n

Familia Bulsara era parsi, zoroastrian\u0103, originar\u0103 din India, stabilit\u0103 \u00een Africa de Est cu genera\u0163ii \u00een urm\u0103. Bomi Bulsara, tat\u0103l lui Freddie, era func\u0163ionar \u00een administra\u0163ia colonial\u0103 britanic\u0103 \u2013 un om ordonat \u015fi discret, care ducea o via\u0163\u0103 a\u015fezat\u0103 \u00eentr-un loc \u00een permanent\u0103 fierbere. Mama, Jer, era cea care \u0163inea casa \u015fi familia \u00eempreun\u0103 cu o c\u0103ldur\u0103 pe care Freddie a pomenit-o \u00een rarele momente \u00een care vorbea despre copil\u0103ria lui. Sora lui, Kashmira, s-a n\u0103scut la c\u00e2\u0163iva ani dup\u0103 el \u015fi a r\u0103mas aproape de familie toat\u0103 via\u0163a, ferit\u0103 de lumina reflectoarelor care \u00eel \u00eenso\u0163ea pe fratele ei pretutindeni.<\/p>\n

La 8 ani, Farrokh a fost trimis la internat \u00een India, la St. Peter\u2019s School din Panchgani, unde a descoperit pianul \u015fi teatrul \u015fi ceva ce nu \u015ftia s\u0103 numeasc\u0103 atunci: c\u0103 a urca pe scen\u0103 poate fi o form\u0103 de prezen\u0163\u0103 mai puternic\u0103 dec\u00e2t orice apartenen\u0163\u0103 geografic\u0103. Colegii i-au spus Freddie \u015fi a\u015fa i-a r\u0103mas numele.<\/p>\n

S-a \u00eentors \u00een Zanzibar adolescent \u015fi a tr\u0103it revolu\u0163ia din 1964, cea care a alungat comunitatea arab\u0103 \u015fi indian\u0103 din insul\u0103, risipind \u00een patru z\u0103ri familii \u00eentregi. S-a mutat cu p\u0103rin\u0163ii la Feltham, la marginea Londrei, unde a studiat art\u0103 \u015fi design grafic la Ealing College of Art, a v\u00e2ndut haine vechi \u00een pie\u0163e \u015fi a dormit \u00een apartamente suprapopulate. Era un t\u00e2n\u0103r cu accent neidentificabil, cu o \u00eenf\u0103\u0163i\u015fare excentric\u0103, cu din\u0163i proeminen\u0163i pe care \u00eei detesta \u015fi pe care a refuzat totu\u015fi mereu s\u0103 \u015fi-i corecteze de team\u0103 c\u0103 i-ar putea schimba vocea. \u015ei totu\u015fi, acela\u015fi om cu din\u0163ii de care se ru\u015fina vindea, al\u0103turi de Mary Austin, haine vechi de blan\u0103 \u015fi catifea \u00een pia\u0163a Kensington \u00eembr\u0103cat ca un prin\u0163 decadent printre tarabe de secondhand. Era un imigrant f\u0103r\u0103 bani care se costumase deja \u00een viitorul lui. Contrastul acela preg\u0103tea explozia care a urmat. Pentru un om obsedat de costum, de spectacol, de fiecare unghi al scenei, \u0103sta nu e un am\u0103nunt, e o convingere, pentru c\u0103 spune ceva esen\u0163ial despre ierarhia lui de valori. Muzica st\u0103tea mai sus fa\u0163\u0103 de imagine. Dar imaginea a fost armura lui. <\/p>\n

publicitate”); background-position: center center; background-repeat: no-repeat;”><\/p>\n

\u015ei-a schimbat numele \u00een Mercury, nu dintr-un capriciu, ci cu logica unui om care \u015ftie c\u0103 primul pas spre transformare e s\u0103 nume\u015fti altfel ce vrei s\u0103 devii. Mercur \u2013 zeul care trece \u00eentre lumi f\u0103r\u0103 s\u0103 apar\u0163in\u0103 niciuneia, mesagerul care nu are cas\u0103 proprie pentru c\u0103 drumul \u00eei este cas\u0103. T\u00e2n\u0103rul crescut \u00een Zanzibar \u015ftia intuitiv ce \u00eenseamn\u0103 s\u0103 fii de pretutindeni \u015fi de nic\u0103ieri \u00een acela\u015fi timp.<\/p>\n

Cum se na\u015fte un grup <\/p>\n

Queen nu s-a format \u00een jurul lui Freddie Mercury. S-a format \u00een jurul unui vid pe care to\u0163i patru \u00eel sim\u0163eau separat. Brian May \u015fi Roger Taylor aveau deja o trup\u0103 \u2013 Smile \u2013 c\u00e2nd l-au cunoscut pe Freddie, pe atunci un spectator entuziast \u015fi sf\u0103tos. El era cel care le spunea, dup\u0103 fiecare repeti\u0163ie, c\u0103 au poten\u0163ial, dar c\u0103 nu \u015ftiu s\u0103 \u00eel foloseasc\u0103. Trupa s-a destr\u0103mat. Freddie a preluat ce r\u0103m\u0103sese \u015fi a propus un nume nou: Queen. May \u015fi Taylor au ezitat \u2013 li se p\u0103rea prea preten\u0163ios, prea expus, dar Freddie a insistat. John Deacon a venit ultimul, audiat \u00een 1971 \u00eentr-un club din Londra. Era lini\u015ftit, precis \u015fi aproape invizibil fa\u0163\u0103 de ceilal\u0163i trei. \u00cempreun\u0103 au \u00eenregistrat primul album \u00een 1973, care se numea chiar \u201eQueen\u201c, finan\u0163at \u00een parte din bursele de studiu ale lui Brian May \u015fi din economiile str\u00e2nse cu grij\u0103 de John Deacon. Nu aveau o cas\u0103 de discuri, nu aveau bani, nu aveau siguran\u0163\u0103.<\/p>\n

\"Forma\u021bia <\/p>\n

Forma\u021bia Queen la \u00eenceputuri. Foto: Getty Images<\/p>\n

Brian May, absolvent de astrofizic\u0103 cu un doctorat neterminat pe care l-a reluat \u015fi finalizat la 60 de ani, aducea arhitectura armonic\u0103, straturile suprapuse de chitar\u0103 \u00eenregistrate, un sunet orchestral \u015fi dens, inconfundabil. Roger Taylor aducea puterea brut\u0103 \u015fi o voce \u00eenalt\u0103 ce putea urca acolo unde vocea lui Freddie nu ajungea f\u0103r\u0103 efort. John Deacon \u2013 cel mai t\u0103cut, cel mai discret, cel care s-a retras complet din muzic\u0103 dup\u0103 moartea lui Freddie \u015fi nu a mai urcat niciodat\u0103 pe scen\u0103 \u2013 a scris unele dintre cele mai memorabile linii de bas din rock \u015fi, \u00een plus, \u201eAnother One Bites the Dust\u201c, una dintre cele mai v\u00e2ndute piese din istoria trupei.<\/p>\n

publicitate”); background-position: center center; background-repeat: no-repeat;”><\/p>\n

\u201eMai pune un strat de Galileo\u201c <\/p>\n

\u201eBohemian Rhapsody\u201c este, probabil, piesa \u00een jurul c\u0103reia s-au purtat cele mai multe b\u0103t\u0103lii din istoria industriei muzicale britanice. C\u00e2nd Freddie a adus-o la casa de produc\u0163ie EMI \u00een 1975, r\u0103spunsul a fost c\u0103 nu poate fi lansat\u0103 ca single \u2013 prea lung\u0103, aproape \u015fase minute, f\u0103r\u0103 structura unui refren repetitiv, cu o sec\u0163iune de oper\u0103 \u00een mijloc care nu apar\u0163inea niciunui gen. Posturile de radio nu primeau atunci piese de peste trei minute. Roy Thomas Baker, produc\u0103torul albumului, a ascultat demonstra\u0163ia \u015fi a m\u0103rturisit c\u0103 nu \u00een\u0163elege dac\u0103 e un lucru bun sau un lucru r\u0103u. Freddie a insistat \u015fi a c\u00e2\u015ftigat. Piesa a stat nou\u0103 s\u0103pt\u0103m\u00e2ni pe primul loc \u00een Marea Britanie.<\/p>\n

Vocea lui s-a multiplicat pe band\u0103 de zeci de ori pentru sec\u0163iunea de oper\u0103 \u2013 la un moment dat fuseser\u0103 \u00eenregistrate at\u00e2tea straturi \u00eenc\u00e2t benzile deveniser\u0103 semitransparente la capete. Se zice c\u0103 Freddie \u00eei spunea inginerului de sunet \u201emai pune un strat de Galileo\u201c ca \u015fi cum ar fi cerut un condiment. Albumul \u201eA Night at the Opera\u201c a costat la vremea respectiv\u0103 mai mult dec\u00e2t orice alt album britanic \u00eenregistrat vreodat\u0103. Trupa era aproape \u00een faliment. \u015ei-a riscat existen\u0163a pentru o pies\u0103 de \u015fase minute care nu sem\u0103na cu nimic altceva, dar a meritat.<\/p>\n

publicitate”); background-position: center center; background-repeat: no-repeat;”><\/p>\n

Au urmat ani \u00een care Queen a trecut prin genuri cu o dezinvoltur\u0103 care irita criticii \u015fi fermeca publicul. Hard rock, oper\u0103, muzic\u0103 de cabaret, funk, balad\u0103 \u2013 fiecare album o surpriz\u0103, niciun album o repeti\u0163ie. Albumul \u201eNews of the World\u201c din 1977 a adus \u201eWe Will Rock You\u201c \u015fi \u201eWe Are the Champions\u201c, imnuri scrise parc\u0103 pentru stadioane care nu existau \u00eenc\u0103 la scara la care aveau s\u0103 fie folosite. \u201eThe Game\u201c, \u00een 1980, a adus primul loc \u00een Statele Unite \u2013 o performan\u0163\u0103 la care multe trupe britanice visau. \u015ei, apoi, \u201eLive Aid\u201c. Apogeul.<\/p>\n

THE SHOW MUST GO ON <\/p>\n

Se spune c\u0103 Freddie Mercury avea un ambitus de patru octave, ca \u015fi cum cifra ar explica ceva \u2013 n-o face. Vocea lui nu suna ca nicio alt\u0103 voce din rock \u015fi nu suna ca nicio voce din oper\u0103: era o a treia categorie, inventat\u0103 pentru el, f\u0103r\u0103 precedent \u015fi f\u0103r\u0103 urma\u015fi direc\u0163i. Putea fi fragil\u0103 p\u00e2n\u0103 la transparen\u0163\u0103 \u00eentr-o balad\u0103 \u015fi putea umple un stadion f\u0103r\u0103 microfon. Trecerea dintre registre, \u00een loc s\u0103 fie o cus\u0103tur\u0103 sonor\u0103, era la el un eveniment \u2013 un moment \u00een care vocea p\u0103rea c\u0103 se destram\u0103 \u015fi se reface \u00een acela\u015fi timp, c\u0103 cedeaz\u0103 \u015fi rezist\u0103 simultan. Celebra sopran\u0103 catalan\u0103 Montserrat Caball\u00e9, care \u015ftia mai bine dec\u00e2t oricine ce \u00eenseamn\u0103 controlul vocal, a spus c\u0103 nu a mai \u00eent\u00e2lnit pe nimeni capabil s\u0103 fac\u0103 cu vocea ce f\u0103cea Freddie Mercury: s\u0103 o foloseasc\u0103 at\u00e2t ca instrument de precizie, c\u00e2t \u015fi ca instrument de abandon total, \u00een aceea\u015fi pies\u0103, uneori \u00een acela\u015fi vers.<\/p>\n

publicitate”); background-position: center center; background-repeat: no-repeat;”><\/p>\n

Ceea ce pu\u0163ini \u015ftiu e c\u0103 vocea pe care o cunoa\u015ftem nu era, de fapt, vocea lui \u201ereal\u0103\u201c. Caball\u00e9 i-a propus odat\u0103 s\u0103 \u00eenregistreze \u00eempreun\u0103 un duet de bariton \u015fi sopran\u0103 \u2013 pentru c\u0103 aceea era, \u00een fond, vocea lui natural\u0103. \u201eNu, nu\u201c, a refuzat Freddie. \u201eFanii mei m\u0103 cunosc ca fiind c\u00e2nt\u0103re\u0163 de rock \u015fi nu-mi vor recunoa\u015fte vocea dac\u0103 voi c\u00e2nta ca bariton\u201c. \u015ei-a construit toat\u0103 cariera pe o voce care era, tehnic vorbind, un personaj. Nu a luat niciodat\u0103 lec\u0163ii de canto. S-a temut mereu c\u0103 un profesor i-ar putea modifica ceva esen\u0163ial, construit prin intui\u0163ie \u015fi imposibil de reconstituit prin tehnic\u0103. Era frica unui meseria\u015f adev\u0103rat: nu te atinge de ce func\u0163ioneaz\u0103 f\u0103r\u0103 s\u0103 \u015ftii exact de ce func\u0163ioneaz\u0103. \u015ei a avut dreptate. Vocea a r\u0103mas intact\u0103, ciudat\u0103, inimitabil\u0103, p\u00e2n\u0103 la sf\u00e2r\u015fit.<\/p>\n

Contradic\u0163ia ca materie prim\u0103 <\/p>\n

Exist\u0103 o tenta\u0163ie \u00een jurnalismul cultural de a vorbi despre Freddie Mercury \u00een superlative care \u00eel \u00eendep\u0103rteaz\u0103 de orice uman recognoscibil. Vocea-miracol, omul de scen\u0103 f\u0103r\u0103 seam\u0103n, artistul total. Toate adev\u0103rate. \u015ei toate, \u00een felul lor, o form\u0103 de a-l \u0163ine la distan\u0163\u0103. Peter Freestone, asistentul lui personal de lung\u0103 durat\u0103, spunea c\u0103 Mercury era \u201emeticulos \u015fi generos, a c\u0103rui via\u0163\u0103 privat\u0103 era complet interzis\u0103 oricui din afara cercului restr\u00e2ns\u201c. Pentru cineva care v\u00e2nduse 150 de milioane de albume, era neobi\u015fnuit de greu de \u00een\u0163eles.<\/p>\n

\"Freddie, <\/p>\n

Freddie, regele Muzicii. Foto: Profimedia<\/p>\n

publicitate”); background-position: center center; background-repeat: no-repeat;”><\/p>\n

Freddie Mercury era, dup\u0103 m\u0103rturiile constante ale celor care l-au cunoscut bine, un om profund timid \u00een afara scenei. Nu t\u0103cut \u2013 \u015ftia s\u0103 fie viu \u015fi zgomotos \u015fi extravagant la petreceri. Dar timid \u00een sensul mai ad\u00e2nc: nu se sim\u0163ea \u00een largul lui \u00een conversa\u0163ii fa\u0163\u0103 \u00een fa\u0163\u0103 cu oameni pe care nu \u00eei cuno\u015ftea, evita interviurile, detesta s\u0103 vorbeasc\u0103 despre sine cu detalii. \u201ePrefer s\u0103 las muzica s\u0103 vorbeasc\u0103\u201c \u2013 o fraz\u0103 repetat\u0103 \u00een variante diferite toat\u0103 via\u0163a, care suna a cli\u015feu, dar era, de fapt, literalmente adev\u0103rat\u0103.<\/p>\n

Petrecerile de la Garden Lodge \u2013 re\u015fedin\u0163a lui din Kensington, o cas\u0103 victorian\u0103 renovat\u0103 cu meticulozitate \u2013 au intrat \u00een legend\u0103. Sute de oameni, muzic\u0103, extravagan\u0163\u0103 organizat\u0103 p\u00e2n\u0103 \u00een cel mai mic detaliu. \u015ei totu\u015fi, to\u0163i cei care l-au cunoscut bine spun acela\u015fi lucru: Freddie era cel mai singur om din \u00eenc\u0103pere; petrecerile nu erau o expresie a bucuriei. <\/p>\n

Freddie Mercury a avut o fiic\u0103 secret\u0103. Misterul, dezv\u0103luit \u00eentr-o biografie: \u201eAm avut o rela\u0163ie apropiat\u0103 \u015fi plin\u0103 de iubire, m-a adorat\u201d <\/a><\/p>\n

Cump\u0103ra case \u015fi le renova p\u00e2n\u0103 la cel mai mic detaliu, nu pentru a locui \u00een ele, ci pentru c\u0103 procesul \u00een sine \u00eel fascina. \u00centr-un interviu din anii \u201980, \u00eentrebat dac\u0103 e bogat, a r\u0103spuns f\u0103r\u0103 urm\u0103 de jen\u0103: \u201eSunt foarte bogat. Cheltuiesc banii extraordinar de repede. Am cump\u0103rat o cas\u0103 \u00een Londra, am renovat-o complet \u2013 \u015fi nu am locuit niciodat\u0103 \u00een ea\u201c. \u015ei a z\u00e2mbit. Ca \u015fi cum era cel mai firesc lucru din lume.<\/p>\n

Avea pisici. Mai multe. Delilah, Goliath, Tiffany, Oscar, Jerry \u2013 fiecare cu nume cu greutate, fiecare tratat\u0103 cu seriozitate deplin\u0103. \u00cen turneu le scria, dar nu scurte mesaje de circumstan\u0163\u0103, ci scrisori adev\u0103rate, cu gravitatea unui om care ia \u00een serios destinatarul. C\u0103 destinatarii nu puteau citi era un detaliu pe care \u00eel ignora cu totul.<\/p>\n

Acela\u015fi om putea fi t\u0103ios p\u00e2n\u0103 la cruzime cu ziari\u015ftii pe care \u00eei considera plictisitori. Putea ignora o sal\u0103 \u00eentreag\u0103 dac\u0103 nu era \u00een dispozi\u0163ie. Putea lua decizii muzicale cu o autoritate care nu admitea replic\u0103. Era genul de perfec\u0163ionist care petrecea ore \u00eentregi pe o tranzi\u0163ie armonic\u0103 de dou\u0103 secunde \u00een mijlocul unui c\u00e2ntec de \u015fase minute \u2013 \u015fi considera asta timp bine petrecut.<\/p>\n

publicitate”); background-position: center center; background-repeat: no-repeat;”><\/p>\n

Fragil \u015fi invincibil. Singur \u015fi mereu \u00een grupuri. Timid \u015fi capabil s\u0103 conduc\u0103 70.000 de oameni cu un singur gest. Nu a rezolvat niciodat\u0103 contradic\u0163ia, dar a transformat-o \u00een art\u0103.<\/p>\n

\u201eBarcelona\u201c \u015fi dincolo de ea <\/p>\n

\u00cen 1985, \u00een paralel cu turneele Queen, Freddie Mercury a lansat primul album solo, \u201eMr. Bad Guy\u201c. Critica l-a primit cu r\u0103ceal\u0103, consider\u00e2ndu-l prea diferit de Queen, prea orientat spre pop \u015fi sintetizatoare, prea pu\u0163in din ce a\u015ftepta lumea de la el. Freddie nu a comentat prea mult, \u015ftia c\u0103 era definit de Queen, \u015fi albumul solo era mai degrab\u0103 o camer\u0103 lateral\u0103 dec\u00e2t o alt\u0103 cas\u0103. Au urmat \u00eenregistr\u0103ri cu Michael Jackson \u2013 colabor\u0103ri care nu au ajuns niciodat\u0103 pe disc, r\u0103mase \u00een sertar din motive care nu au fost niciodat\u0103 clarificate complet \u2013 \u015fi single-ul \u201eThe Great Pretender\u201c \u00een 1987, o reinterpretare a clasicului celor de la The Platters care spunea, \u00een felul lui, ceva despre diferen\u021ba dintre ce ar\u0103\u0163i \u015fi ce e\u015fti. Piesa original\u0103 era despre un om care mimeaz\u0103 fericirea, de\u015fi are inima zdrobit\u0103. La Freddie, pref\u0103c\u0103toria era invers\u0103: pe scen\u0103 afi\u015fa o siguran\u0163\u0103 de sine divin\u0103, aproape dictatorial\u0103 \u2013 nu ca s\u0103 \u00een\u015fele, ci ca s\u0103 protejeze fragilitatea speriat\u0103 a b\u0103iatului din Zanzibar. Scena nu era locul unde se pref\u0103cea, era singurul loc unde \u00eendr\u0103znea s\u0103 fie cu totul el \u00eensu\u015fi. Masca era, de fapt, chipul lui real.<\/p>\n

\"Freddie <\/p>\n

Freddie \u0219i Montserrat Caball\u00e9. Foto: Getty Images<\/p>\n

Dar cea mai important\u0103 ie\u015fire a lui \u00een afara Queen a venit tot prin voce. \u00cen 1986 a ascultat pentru prima oar\u0103 vocea lui Montserrat Caball\u00e9. A pus \u00eenregistrarea, a t\u0103cut, \u015fi la sf\u00e2r\u015fit a spus c\u0103 e cea mai frumoas\u0103 voce pe care a auzit-o vreodat\u0103, cu uimirea unui om care credea c\u0103 \u015ftie deja tot ce se poate \u015fti despre o voce \u015fi d\u0103 brusc, pe nea\u015fteptate, peste ceva ce \u00eel dep\u0103\u015fe\u015fte. Doi ani mai t\u00e2rziu, \u00een 1988, au lansat \u00eempreun\u0103 albumul \u201eBarcelona\u201c. Nu existau precedente pentru o astfel de colaborare. Critica nu \u015ftia unde s\u0103 o plaseze. Publicul a iubit-o imediat. Iar Freddie, cel care rareori l\u0103sa s\u0103 se vad\u0103 emo\u0163ia \u00een studio, a stat cu lacrimi \u00een ochi c\u00e2nd Caball\u00e9 a \u00eenregistrat primele linii vocale ale piesei. Piesa \u201eBarcelona\u201c a devenit imnul oficial al Jocurilor Olimpice din 1992 \u2013 pe care Freddie nu a mai apucat s\u0103 le vad\u0103. Caball\u00e9 a spus mai t\u00e2rziu c\u0103 el era singurul artist de rock care \u00een\u0163elegea opera din interior, nu ca spectator fascinat, ci ca muzician care recunoa\u015fte structura \u015fi o respect\u0103. \u015ei c\u0103, dac\u0103 ar fi tr\u0103it, ar fi explorat tot mai ad\u00e2nc teritoriul muzicii clasice. Discutaser\u0103 deja despre a \u00eenregistra \u00eempreun\u0103 piesa \u201ePhantom of the Opera\u201c. <\/p>\n

Tim Rice, care a co-scris dou\u0103 piese de pe albumul \u201eBarcelona\u201c, crede c\u0103 Freddie nu ar fi abandonat niciodat\u0103 Queen \u2013 dar c\u0103 \u00een paralel ar fi putut deveni un mare autor de piese de musical sau chiar de oper\u0103. \u201e\u00ce\u015fi dorea mereu s\u0103 \u00eenve\u0163e mai multe despre muzic\u0103\u201c, spune Rice. <\/p>\n

Finalul ales <\/p>\n

Mary Austin a intrat \u00een via\u0163a lui Freddie \u00een 1970. Au fost \u00eempreun\u0103 c\u00e2\u0163iva ani, s-au desp\u0103r\u0163it, \u015fi au r\u0103mas prieteni pentru restul vie\u0163ii lui \u2013 un tip de prietenie pe care niciun cuv\u00e2nt obi\u015fnuit nu o descrie bine. \u201eLove of My Life\u201c, una dintre cele mai fragile piese pe care le-a scris vreodat\u0103, \u00eei era adresat\u0103 ei. La concertele din ultimii ani, Freddie l\u0103sa publicul s\u0103 c\u00e2nte strofa principal\u0103 \u00een locul lui \u2013 zeci de mii de oameni rostind \u00een cor o declara\u0163ie de dragoste scris\u0103 pentru o singur\u0103 persoan\u0103. I-a l\u0103sat lui Mary casa din Kensington \u015fi cea mai mare parte a averii. \u201eTo\u0163i ceilal\u0163i din via\u0163a mea sunt prieteni trec\u0103tori\u201c, i-a spus odat\u0103. \u201eDar tu e\u015fti familia mea\u201c.<\/p>\n

\"Artistul <\/p>\n

Artistul al\u0103turi de Mary Austin. Foto: Getty Images<\/p>\n

Decizia aceasta nu a r\u0103mas f\u0103r\u0103 ecou \u00een familie. Kashmira Cooke, sora lui Freddie, \u015fi mama lor, Jer Bulsara, au contestat testamentul, consider\u00e2nd c\u0103 familia de s\u00e2nge fusese l\u0103sat\u0103 deoparte \u00een favoarea unei prietene. Disputa juridic\u0103 a durat ani \u015fi a ie\u015fit par\u0163ial la lumin\u0103 abia mai t\u00e2rziu, prin m\u0103rturii \u015fi documente publicate de pres\u0103. Mary Austin a c\u00e2\u015ftigat. Freddie \u015ftiuse ce voia \u015fi scrisese asta cu destul\u0103 claritate \u00eenc\u00e2t nimeni s\u0103 nu-i poat\u0103 contesta dorin\u0163a. Farrokh Bulsara a r\u0103mas un mister \u015fi pentru cei mai apropia\u0163i lui: nimeni nu a de\u0163inut controlul total asupra lui, nici \u00een via\u0163\u0103, nici \u00een moarte.<\/p>\n

Ultimii ani i-a petrecut al\u0103turi de Jim Hutton, un gr\u0103dinar irlandez pe care industria muzical\u0103 nu-l interesa c\u00e2tu\u015fi de pu\u0163in. Tocmai de aceea conta. Nu venise pentru fenomen \u2013 venise pentru omul din spatele lui, Farrokh Bulsara, cel care voia uneori s\u0103 m\u0103n\u00e2nce bine, s\u0103 asculte oper\u0103 \u015fi s\u0103 dispar\u0103 din propriul spectacol pentru c\u00e2teva ore.<\/p>\n

Prin 1990, c\u00e2nd de-abia mai putea sta \u00een picioare, a venit totu\u015fi \u00een studio s\u0103 \u00eenregistreze pentru \u201eInnuendo\u201c. \u015etia c\u0103 moare. Ceruse echipei s\u0103 nu-l pl\u00e2ng\u0103 \u015fi s\u0103 lucreze. Ultima pies\u0103 de pe album, \u201eThe Show Must Go On\u201c, este, \u00een esen\u0163\u0103, o \u00eentrebare retoric\u0103 \u2013 \u201emai poate continua?\u201c \u2013 la care r\u0103spunde cu tot ce \u00eei mai r\u0103m\u0103sese: da, spectacolul trebuie s\u0103 continue, indiferent. Brian May m\u0103rturisise c\u0103 nu credea c\u0103 Freddie va putea \u00eenregistra vocal piesa \u00een starea \u00een care era. Freddie a intrat \u00een studio, a cerut un pahar de vodc\u0103 \u015fi a \u00eenregistrat-o dintr-un singur foc.<\/p>\n

Ultima pies\u0103 pe care a \u00eenregistrat-o vreodat\u0103 a fost \u201eMother Love\u201c, scris\u0103 \u00eempreun\u0103 cu Brian May \u00een mai 1991. A reu\u015fit s\u0103 c\u00e2nte primele dou\u0103 strofe. La a treia nu mai putea. A plecat din studio \u015fi nu s-a mai \u00eentors. Brian May a \u00eenregistrat ultima strof\u0103. Piesa a ap\u0103rut postum pe albumul \u201eMade in Heaven\u201c, \u00een 1995. Acesta este poate cel mai sf\u00e2\u015fietor moment din toat\u0103 povestea: ultima voce a lui Freddie Mercury se opre\u015fte la mijloc de fraz\u0103, \u015fi altcineva \u00eei duce cuvintele p\u00e2n\u0103 la cap\u0103t. Peter Freestone, asistentul lui de-o via\u0163\u0103, a spus mai t\u00e2rziu c\u0103 Freddie a avut un singur regret la sf\u00e2r\u015fit. \u201eMai avea muzic\u0103 \u00een el\u201c. Albumul \u201eInnuendo\u201c sun\u0103 ca un om \u00een plin\u0103 for\u0163\u0103. Aceasta e contradic\u0163ia final\u0103 \u015fi, poate, cea mai frumoas\u0103: ultimele \u00eenregistr\u0103ri ale unui om care se stingea sunau a via\u0163\u0103.<\/p>\n

O pies\u0103 necunoscut\u0103 a trupei Queen, \u00een care se aude vocea lui Freddie Mercury. \u201eNimeni nu a auzit vreodat\u0103 aceast\u0103 versiune\u201d <\/a><\/p>\n

Freddie Mercury murit pe 24 noiembrie 1991, la 45 de ani. Cu o zi \u00eenainte confirmase public c\u0103 sufer\u0103 de SIDA \u2013 o decizie luat\u0103 cu aceea\u015fi r\u0103ceal\u0103 calculat\u0103 cu care luase mereu deciziile importante. Chiar \u015fi atunci, \u00een ultimele zile, c\u00e2nd \u00ee\u015fi pierduse vederea \u015fi de-abia mai putea sta \u00een picioare, tot ce voia s\u0103 discute era muzica. Managerul Jim Beach i-a sugerat c\u0103 Brian May ar trebui s\u0103 am\u00e2ne lansarea unui single solo. \u201eSpune-i s\u0103-l lanseze\u201c, a zis Freddie. \u201eA\u015f putea s\u0103 mor \u00een orice clip\u0103 \u2013 ce publicitate mai bun\u0103 ar putea avea?\u201c. May a lansat discul a doua zi dup\u0103 moartea lui \u015fi, \u00een dou\u0103 s\u0103pt\u0103m\u00e2ni, a ajuns pe locul \u015fase \u00een topuri.<\/p>\n

Aplauzele continu\u0103 <\/p>\n

Pe 20 aprilie 1992, la cinci luni dup\u0103 moartea lui Freddie Mercury, Wembley s-a umplut din nou. 72.000 de oameni \u2013 acela\u015fi stadion, aceea\u015fi capacitate \u2013 veniser\u0103 la concertul-tribut organizat de Queen \u00een memoria lui. Pe scen\u0103 au urcat, pe r\u00e2nd, Elton John, David Bowie, George Michael, Annie Lennox, Liza Minnelli, Metallica, Guns N\u2019 Roses. Fiecare a c\u00e2ntat c\u00e2te o pies\u0103 Queen. Concertul a fost transmis live \u00een 76 de \u0163\u0103ri \u015fi urm\u0103rit de aproximativ un miliard de telespectatori. Era un omagiu, o demonstra\u0163ie a ceva ce Freddie Mercury \u015ftiuse dintotdeauna: c\u0103 muzica lui nu apar\u0163inea unui gen \u015fi nu apar\u0163inea unei genera\u0163ii. C\u0103 Elton John, Metallica \u015fi George Michael puteau c\u00e2nta acelea\u015fi piese f\u0103r\u0103 ca vreuna s\u0103 sune straniu. C\u0103 repertoriul Queen era, \u00een fond, un limbaj, nu un stil.<\/p>\n

\"Freddie, <\/p>\n

Freddie, mereu iubit de public. Foto: Profimedia<\/p>\n

La 80 de ani \u2013 v\u00e2rsta pe care Farrokh Bulsara din Zanzibar nu a apucat s\u0103 o vad\u0103 \u2013 este tentant s\u0103 facem bilan\u0163. Miliarde de ascult\u0103ri, imnuri c\u00e2ntate pe stadioane de oameni care poate nu \u015ftiu to\u0163i cine le-a scris, un film care a adus povestea lui unei noi genera\u0163ii. Cifrele sunt reale \u015fi, \u00een acela\u015fi timp, nu ating miezul: c\u0103 Freddie Mercury a ajuns s\u0103 fie al tuturor exact prin tot ceea ce nu se potrivea nic\u0103ieri. Vocea neformat\u0103 academic. Trupa care nu se \u00eencadra \u00een niciun gen. Omul care nu apar\u0163inea niciunui loc. \u00centr-o industrie care a func\u0163ionat \u00eentotdeauna dup\u0103 tipare \u2013 e\u015fti rock sau e\u015fti pop, e\u015fti britanic sau e\u015fti american \u2013, Queen a refuzat sistematic s\u0103 aleag\u0103. \u015ei a c\u00e2\u015ftigat tocmai prin refuzul acela.<\/p>\n

Azi, c\u00e2nd muzica se fragmenteaz\u0103 \u00een mii de ni\u015fe \u015fi algoritmii decid ce ajunge la urechi, c\u00e2nd fiecare artist e sf\u0103tuit s\u0103-\u015fi g\u0103seasc\u0103 publicul-\u0163int\u0103 \u015fi s\u0103 nu se abat\u0103 de la el \u2013 povestea lui Queen sun\u0103 mai contracurent ca oric\u00e2nd. Freestone spunea c\u0103 dac\u0103 Mercury ar fi tr\u0103it \u00een era re\u0163elelor sociale, ar fi ur\u00e2t tot ce implic\u0103 ele \u2013 expunerea, obliga\u0163ia transparen\u0163ei, vie\u0163ile transformate \u00een c\u0103r\u0163i deschise. \u201eMai exist\u0103 ceva ce nu \u015ftim despre Lady Gaga?\u201c, \u00eentreba Freestone retoric. Despre Freddie Mercury, \u00een schimb, cortina s-a ridicat \u015fi s-a cobor\u00e2t la loc, l\u0103s\u00e2ndu-ne la fel de ne\u015ftiutori. \u015ei poate c\u0103 tocmai asta e sursa magnetismului lui care nu se stinge.<\/p>\n

Pe Wembley, \u00een iulie 1985, la cap\u0103tul celor 21 de minute, Freddie Mercury a ie\u015fit din scen\u0103. \u015ei-a aprins o \u0163igar\u0103, s-a a\u015fezat pe un scaun \u00een culise \u015fi a t\u0103cut. Mul\u0163imea \u00eenc\u0103 striga. El t\u0103cea. <\/p>\n

Filmul \u015fi limitele lui <\/p>\n

C\u00e2nd \u201eBohemian Rhapsody\u201c a ap\u0103rut \u00een cinematografe \u00een octombrie 2018, nimeni nu se a\u015ftepta la ce a urmat: peste 900 de milioane de dolari \u00eencas\u0103ri mondiale, Oscarul pentru cel mai bun actor, Rami Malek, \u015fi \u2013 mai important dec\u00e2t orice cifr\u0103 \u2013 cozi la cinematografe formate din oameni care nu se n\u0103scuser\u0103 c\u00e2nd Freddie Mercury murise.<\/p>\n

\"image\" <\/p>\n

Foto: Wikipedia<\/p>\n

Rami Malek a reu\u015fit ceva dificil \u015fi rar: nu a imitat, a reconstruit. Gesturile, postura scenic\u0103, felul \u00een care Freddie \u0163inea microfonul, trecerea brusc\u0103 de la retras la exploziv \u2013 toate erau acolo, f\u0103r\u0103 s\u0103 par\u0103 copie. Secven\u0163a \u201eLive Aid\u201c r\u0103m\u00e2ne, probabil, cea mai bun\u0103 reconstituire a unui concert real din istoria filmelor biografice muzicale.<\/p>\n

Filmul are \u00eens\u0103 \u015fi limitele lui, recunoscute inclusiv de Brian May. Cronologia e manipulat\u0103, unele rela\u0163ii sunt simplificate, iar complexitatea lui Freddie \u2013 omul de dincolo de scen\u0103, cu singur\u0103tatea \u015fi contradic\u0163iile lui \u2013 apare doar \u00een filigran. E un film despre o legend\u0103, nu despre un om. Uneori e de ajuns, alteori, nu.<\/p>\n

\\n const _iprc = performance.now();\\n\\u003C\/script>\\n\\n\\u003Cscript class=\\”optanon-category-C0004\\” type=\\”text\/plain\\”>\\nconsole.log(\\”*** cookieconsent done:\\”, Math.round(performance.now() – _iprc) \/ 1000);\\n gtag(‘event’, ‘cookieconsent’, {\\n name: ‘load’,\\n value: Math.round(performance.now() – _iprc) \/ 1000\\n });\\n\\u003C\/script>\\n\\u003C!– END PERFORMANCE COOKIE PRO –>\\n\\n{{#unless context.ads_disabled}}\\n\\n\\u003Cscript class=\\”optanon-category-C0004\\” type=\\”text\/plain\\” src=\\”\/\/a.teads.tv\/page\/99553\/tag\\” async=\\”true\\”>\\u003C\/script>\\n{{\/unless}}\\n\\n\\u003Cdiv data-ad=\\”adevarul.ro_728x90_sticky_display_bottom_adevarul_bottom_center_leaderboard\\” data-devices=\\”m:0,t:1,d:1\\” class=\\”demand-supply\\”>\\u003C\/div>\\n\\n{{#if context.content}}\\n\\n{{#unless context.ads_disabled}}\\n\\u003Cscript class=\\”optanon-category-C0004\\” type=\\”text\/plain\\” src=\\”https:\/\/cnt.trvdp.com\/js\/1544\/6545.js\\”>\\u003C\/script>\\n{{\/unless}}\\n\\n\\n{{\/if}}\\n\\n\\n”,”html_mobile”:”\\n\\n\\n\\u003C!– CHECK PERFORMANCE COOKIE PRO –>\\n\\u003Cscript>\\n const _iprc = performance.now();\\n\\u003C\/script>\\n\\n\\u003Cscript class=\\”optanon-category-C0004\\” type=\\”text\/plain\\”>\\nconsole.log(\\”*** cookieconsent done:\\”, Math.round(performance.now() – _iprc) \/ 1000);\\n gtag(‘event’, ‘cookieconsent’, {\\n name: ‘load’,\\n value: Math.round(performance.now() – _iprc) \/ 1000\\n });\\n\\u003C\/script>\\n\\u003C!– END PERFORMANCE COOKIE PRO –>\\n\\n{{#unless context.ads_disabled}}\\n\\n\\n\\u003Cscript\\n class=\\”optanon-category-C0004\\”\\n type=\\”text\/plain\\”\\n src=\\”\/\/a.teads.tv\/page\/99553\/tag\\”\\n async=\\”true\\”\\n>\\u003C\/script>\\n\\n{{\/unless}} \\n\\n\\u003Cdiv\\n data-ad=\\”adevarul.ro_sticky_mobile_bottom\\”\\n data-devices=\\”m:1,t:0,d:0\\”\\n class=\\”demand-supply\\”\\n>\\u003C\/div>\\n\\n{{#if context.content}} \\n\\n\\n{{#unless context.ads_disabled}}\\n\\u003Cscript class=\\”optanon-category-C0004\\” type=\\”text\/plain\\” src=\\”https:\/\/cnt.trvdp.com\/js\/1544\/6545.js\\”>\\u003C\/script>\\n{{\/unless}}\\n\\n{{\/if}}\\n\\n”},”updated_at”:”2025-11-01T11:31:21.462Z”},”AdPosition_head”:{„data”:{„custom_fields”:{},”for_desktop”:true,”for_mobile”:true,”html_desktop”:”\\u003Cmeta name=\\”profitshareid\\” content=\\”934cd37887433d585a2a227ef0576fcc\\” \/>\\n\\n\\n\\n{{#unless context.ads_disabled}}\\n\\n\\n{{#if context.content}}\\n\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/jsc.mgid.com\/site\/960965.js\\” async>\\u003C\/script>\\n\\n\\n\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\”>\\n (function () {\\n if (document.location.pathname.indexOf(„https:\/\/adevarul.ro\/ghid-de-cumparaturi”) === 0) {\\n return;\\n }\\n\\n const s = document.createElement(\\”script\\”);\\n s.src = \\”https:\/\/srv.divee.ai\/storage\/v1\/object\/public\/sdk\/divee.sdk.latest.js\\”;\\n s.setAttribute(\\”data-project-id\\”, \\”4428864e-2da6-4fef-a83c-c16c2dfe86d9\\”);\\n s.async = true;\\n document.head.appendChild(s);\\n })();\\n\\u003C\/script>\\n\\n\\n\\n\\n\\n{{\/if}}\\n\\n\\u003Cscript>\\n window.teads_analytics = window.teads_analytics || {};\\n window.teads_analytics.analytics_tag_id = \\”PUB_26459\\”;\\n window.teads_analytics.share = window.teads_analytics.share || function() {\\n ;(window.teads_analytics.shared_data = window.teads_analytics.shared_data || []).push(arguments)\\n };\\n\\u003C\/script>\\n\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/a.teads.tv\/analytics\/tag.js\\”>\\u003C\/script>\\n\\n\\n{{#unless context.features.nolivesupply}}\\n\\u003Cscript async data-cfasync=\\”false\\” type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/live.demand.supply\/up.js\\”>\\u003C\/script>\\n{{\/unless}}\\n\\n\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js?client=ca-pub-3345426167175409\\” crossorigin=\\”anonymous\\”>\\u003C\/script>\\n\\n \\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/terrific.live\/terrific-sdk.js\\” storeid=\\”iN6X0VPTDIicsVPKX6p0\\”>\\u003C\/script>\\n\\n{{\/unless}}\\n\\n\\u003Cstyle>\\n.google-adposition > div {\\n flex-grow: 1;\\n}\\n\\n.google-adposition:has(iframe) {\\n background-image: none !important;\\n}\\n\\n.menu-fixed .menu .headContainer .google-auto-placed {\\n display: none;\\n}\\n\\narticle header .title .google-auto-placed {\\n display: none;\\n}\\n\\n#onetrust-banner-sdk #onetrust-accept-btn-handler {\\n margin-bottom: 10px;\\n }\\n\\n #onetrust-banner-sdk #onetrust-reject-all-handler {\\n visibility: hidden;\\n }\\n\\n\\u003C\/style>\\n\\n \\u003C!– Facebook Pixel Code –>\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0002\\”>!function(f,b,e,v,n,t,s){if(f.fbq)return;n=f.fbq=function(){n.callMethod?n.callMethod.apply(n,arguments):n.queue.push(arguments)};if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version=’2.0′;n.queue=[];t=b.createElement(e);t.async=!0;t.src=v;s=b.getElementsByTagName(e)[0];s.parentNode.insertBefore(t,s)}(window,document,’script’,’https:\/\/connect.facebook.net\/en_US\/fbevents.js’); fbq(‘init’, ‘1346397800155390’); fbq(‘track’, ‘PageView’);\\u003C\/script>\\u003Cnoscript> \\u003Cimg height=\\”1\\” width=\\”1\\” src=\\”https:\/\/www.facebook.com\/tr?id=1346397800155390&ev=PageView&noscript=1\\”\/>\\u003C\/noscript>\\u003C!– End Facebook Pixel Code –>\\n\\n\\u003C!– alternativeAds –>\\n”,”html_mobile”:”\\u003Cmeta name=\\”profitshareid\\” content=\\”934cd37887433d585a2a227ef0576fcc\\” \/>\\n\\n\\n{{#unless context.ads_disabled}}\\n\\n{{#if context.content}}\\n\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/jsc.mgid.com\/site\/960965.js\\” async>\\u003C\/script>\\n\\n\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\”>\\n (function () {\\n if (document.location.pathname.indexOf(„https:\/\/adevarul.ro\/ghid-de-cumparaturi”) === 0) {\\n return;\\n }\\n\\n const s = document.createElement(\\”script\\”);\\n s.src = \\”https:\/\/srv.divee.ai\/storage\/v1\/object\/public\/sdk\/divee.sdk.latest.js\\”;\\n s.setAttribute(\\”data-project-id\\”, \\”4428864e-2da6-4fef-a83c-c16c2dfe86d9\\”);\\n s.async = true;\\n document.head.appendChild(s);\\n })();\\n\\u003C\/script>\\n\\n{{\/if}}\\n\\n\\u003Cscript>\\n window.teads_analytics = window.teads_analytics || {};\\n window.teads_analytics.analytics_tag_id = \\”PUB_26459\\”;\\n window.teads_analytics.share = window.teads_analytics.share || function() {\\n ;(window.teads_analytics.shared_data = window.teads_analytics.shared_data || []).push(arguments)\\n };\\n\\u003C\/script>\\n\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/a.teads.tv\/analytics\/tag.js\\”>\\u003C\/script>\\n\\n{{#unless context.features.nolivesupply}}\\n\\u003Cscript async data-cfasync=\\”false\\” type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/live.demand.supply\/up.js\\”>\\u003C\/script>\\n{{\/unless}}\\n\\n\\u003Cscript type=\\”text\/plain\\” class=\\”optanon-category-C0004\\” src=\\”https:\/\/terrific.live\/terrific-sdk.js\\” storeid=\\”iN6X0VPTDIicsVPKX6p0\\”>\\u003C\/script>\\n\\n{{\/unless}}\\n\\u003Cstyle>\\n\\n.google-adposition:has(iframe) {\\n background-image: none !important;\\n}\\n\\n.menu-fixed .menu .headContainer .google-auto-placed {\\n display: none;\\n}\\n\\narticle header .title .google-auto-placed {\\n display: none;\\n}\\n\\n#onetrust-banner-sdk #onetrust-accept-btn-handler {\\n margin-bottom: 10px;\\n }\\n\\n #onetrust-banner-sdk #onetrust-reject-all-handler {\\n visibility: hidden;\\n }\\n\\u003C\/style>\\n”},”updated_at”:”2026-07-22T15:44:05.196Z”}},”last_changed”:”2026-09-05T18:39:04.582Z”,”page”:{„created_at”:”2026-09-01T11:41:23.049Z”,”created_by”:1,”custom_fields”:{},”domain”:”adevarul.ro”,”id”:99,”last_published_at”:”2026-09-01T11:41:24.572Z”,”name”:”Content layout (article)”,”published”:1,”s3_hash”:”a5e0764cf3bce051367545eab1538b4619e8ecb9″,”slug”:null,”title”:”Content layout”,”type”:”layout”,”updated_at”:”2022-07-21T08:27:20.732Z”,”version_id”:272},”path”:”\/stil-de-viata\/magazin\/povestea-lui-freddie-mercury-de-la-farrokh-2554171.html”,”pathArray”:[„”,”stil-de-viata”,”magazin”,”povestea-lui-freddie-mercury-de-la-farrokh-2554171.html”],”type”:”content”,”url”:”https:\/\/adevarul.ro\/stil-de-viata\/magazin\/povestea-lui-freddie-mercury-de-la-farrokh-2554171.html”,”features”:{},”query”:{},”domain_config”:{„MISC”:{„logo”:{„width”:320,”height”:50}},”SYSTEM_TAGS”:[„noads”,”nocomments”,”sex”,”advert”,”advertorial”,”video”,”galerie”,”live”,”foto”,”exclusiv”,”analiza”,”interviu”,”reportaj”,”breaking news”],”default”:{„lang”:”ro”,”domain”:”adevarul.ro”,”alternateDomain”:”adevarul-ro.adh.reperio.news”,”friendlyName”:”Adev\u0103rul”,”logoURL”:”https:\/\/adevarul.ro\/favicon-144-precomposed.png”}},”client”:{„is_mobile”:false}}<\/p>\n","protected":false},"excerpt":{"rendered":"Pe 5 septembrie 2026 se \u00eemplinesc 80 de ani de la na\u0219terea lui Freddie Mercury, vocea emblematic\u0103 a…\n","protected":false},"author":2,"featured_media":289309,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[18],"tags":[79570,171,170,26162,79571,26161,41,40,38,39,75689],"class_list":["post-289308","post","type-post","status-publish","format-standard","has-post-thumbnail","category-divertisment","tag-bohemian-rhapsody","tag-divertisment","tag-entertainment","tag-freddie-mercury","tag-live-aid","tag-queen","tag-ro","tag-romana","tag-romania","tag-romanian","tag-zanzibar"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@ro\/117219998490808280","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/posts\/289308","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/comments?post=289308"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/posts\/289308\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/media\/289309"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/media?parent=289308"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/categories?post=289308"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ro\/wp-json\/wp\/v2\/tags?post=289308"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}