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Evita Original recording remastered, Soundtrack, Cast Recording

3.3 out of 5 stars 37 customer reviews

Price: CDN$ 168.08
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58th Annual GRAMMY Awards
Discover this year's nominees on CD and Vinyl, including Album of the Year, Artist of the Year, Best New Artist of the Year, and more. Learn more

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 37 customer reviews
  • Amazon Bestsellers Rank: #129,623 in Music (See Top 100 in Music)
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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

Top Customer Reviews

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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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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Format: Audio CD
In its concept form, Andrew Llyod Webber and Tim Rice's "Evita" still had some genuine rock n' roll grit to it. This disappeared when the musical went to the West End and Broadway - its edges were softened, the instrumentation was changed, and it became completely a "pop opera". Nothing wrong with that - I just think that rock music is a more appropriate medium than pop to tell a story as serious as that of Eva Peron.
People spend so much time gushing over Webber's tunes that they fail to notice what Tim Rice achieved when he wrote the book for "Evita" - he created a mainstream musical with a complex, well-developed, and above all compelling main character. It is a shame, then, that the actresses who play Eva so rarely do her justice. Patti LuPone and Elaine Paige, of the Broadway and London casts respectively, are both phenomenal singers. However, either through lack of interest or lack of acting prowess, they failed to bring out the nuances of Eva's character. (This goes for Madonna too.) As played by them, Eva came off as a strong-willed, assertive woman. However, the character Tim Rice wrote is more interesting than that: She is a brilliant manipulator of the people around her, and a ruthless pragmatist.
Julie Covington brings out these layers. Her voice is not sweet, but it's pleasant enough to listen too. Her Spanish pronounciation is admittedly a nightmare. But she ACTS the part like no one else, and for me, that is most significant. "Evita" is after all a piece of theater.
Aside from Covington, the rest of the cast on this album is more than solid. Colm Wilkinson, of "Les Miserables" fame, brings a scathing sense of humor to the part of Che.
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