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Evita Original recording remastered, Cast Recording, Soundtrack

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4 used from CDN$ 9.00

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Product Details

  • Audio CD (Nov. 13 1996)
  • Number of Discs: 2
  • Format: Original recording remastered, Cast Recording, Soundtrack
  • Label: Universal Music Group
  • ASIN: B000002P4G
  • Other Editions: Audio CD
  • Average Customer Review: 3.3 out of 5 stars  See all reviews (37 customer reviews)
  • Amazon Bestsellers Rank: #99,258 in Music (See Top 100 in Music)

Disc: 1
1. A Cinema In Buenos Aires, 26 July 1952
2. Requiem For Evita/Oh What A Circus
3. On This Night Of A Thousand Stars/Eva And Magaldi/Eva Beware Of The City
4. Buenos Aires
5. Goodnight And Thank You
6. The Lady's Got Potential
7. Charity Concert/I'd Be Surprisingly Good For You
8. Another Suitcase In Another Hall
9. Dangerous Jade
10. A New Argentina
Disc: 2
1. On The Balcony Of the Casa Rosada/Don't Cry For Me Argentina
2. High Flying, Adored
3. Rainbow High
4. Rainbow Tour
5. The Actess Hasn't Learned The Lines (You'd Like To Hear)
6. And The Money Kept Rolling In (And Out)
7. Santa Evita
8. Waltz For Evita And Che
9. She Is A Diamond
10. Dice Are Rolling/Eva's Sonnet
See all 13 tracks on this disc

Customer Reviews

3.3 out of 5 stars
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1 of 1 people found the following review helpful By A Customer on Jan. 30 2004
Format: Audio CD
I purchased this CD after familiarizing myself with both the Original Broadway Cast Recording and the movie in order to prepare myself for the role of Ché Guevara in April. For what I wanted it for -- Colm Wilkinson, alternate songs/lyrics, a "stripped" version of the score -- this CD is wonderful.
That said, I firmly believe now more than ever that the Original Broadway Cast Recording of Evita is the definitive one. The trio of Patti LuPone, Mandy Patinkin, and Bob Gunton is one that transcends the written notes and truly elevates Evita to another place. But I knew that before buying this concept recording, and if you do also, you will not be disappointed.
Julie Covington is... functional as Eva Duarte de Peron, reminiscent of Madonna but posessing infinitely more range and power. LuPone detractors have hailed Covington as the most accurate representation of the actress, heaping praise on her subtlety, her lack of the "brass" that sets Patti apart. The problem with this position is that, quite simply, the real Eva Peron lacked subtlety. She WAS brassy. She WAS like a hurricane, a force to be reckoned with. Julie, while performing admirably, does not possess this larger-than-life facet that seems to keep Eva from ever being forgotten. In addition, I found her "Don't Cry For Me Argentina" to be mediocre, at best. However, other reviewers have lodged complaints about Covington's accent and mispronunciations. I found her accent to be negligible, and her butcherings of the words off-putting at worst. Certainly, they did not detract from my enjoyment of the album as some reviewers would lead you to believe.
The character of Ché Guevara in this concept recording differs totally from the character that later appeared on the stage.
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2 of 3 people found the following review helpful By Mark Andrew Lawrence on Feb. 2 2004
Format: Audio CD
Andrew Lloyd Webber and Tim Rice had success by releasing their JESUS CHRIST SUPERSTAR on records first, and then fine-tuning the piece for the stage: A try-out in the recording studio. They followed the same path with EVITA which was launched on an unsuspecting public in 1976 with little fanfare. They sent the album to Hal Prince who agreed to stage it in London and ..well you know the rest!
MCA's re-mastered edition of this first EVITA album has outstanding sound quality. The recoding stars Julie Covington and Colm Wilkinson (it also known as "The White Evita" due to its all-white cover) and has the best orchestra: The London Philharmonic..far larger than any theatre orchestra ... but the show had not reached its final form, and you will hear lyrics and songs that did not appear in the stage production. So if you want the full show as it plays on stage, the American cast with Patti LuPone is the one to get.
Given my less enthusiastic reviews of some of Lord Lloyd Webber's later shows (CATS, PHANTOM, SUNSET BLVD) I feel the need to explain where I am coming from. Maybe it will reduce the hate e-mails I get!
It's a shame that Andrew Lloyd Webber and Tim Rice ended their partnership after EVITA as it is their finest theatrical score. JOSEPH & SUPERSTAR have their moments but neither is fully satisfying on stage. I am a professional theatre reviewer, and I attended EVITA early in its Broadway run. At the time it appeared both well written and brilliantly staged and has stood up well to many repeated viewings. Some years later I interviewed Hal Prince and he told me that EVITA was one of the easiest shows he ever staged. "It was like thread coming off a spool," he explained noting that everything fell into place in the first few rehearsals.
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Format: Audio CD
In grade 10 Spanish class, I was first introduced to the musical Evita through the film version with Madonna. Basically, my friend and I did not very much like it, though some of the tunes would stay in my head.

Then, over a year later, I found this version at a secondhand store and, basically just out of the memory of the fun tune "Buenos Aires", I bought both CDs. Listening to this version through, I immediately fell in love with Julie Covington's Evita; she is excellent at contrasting between the gentle, persuasive voice and the powerful voice filled with ambition which, to me, characterise the personage that is Evita. In the recordings, there are no signs of her backing off on the high notes; indeed, where Madonna's voice becomes less powerful in the high "-bow"'s of "Rainbow High", Covington turns up the power, which sounds remarkable and works wonderfully with the character. It's that strength in the song "Rainbow High" that makes me like it as I do, and listening to the Madonna version just doesn't do the song justice. Now, I have only listened to clips of the LuPone, but what I've gained from them is that LuPone is more of a classical singer whereas Covington delivers a more modern popular style, which I find works better with the character of Evita; Eva was not bound to the ways of older times, but tried to break the mold, and this is perfectly shown in the scenes in which the 'upper-class' are represented as a group of classical singers singing to classical music of how Evita is too low in class to be respected while Eva gains approval with her new voice, with a new message, being the one the public adores.
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