and there are parts that are just constant Fs and Gs, like in "A New Argentina." and it's not just rangy as hell; the actress playing Eva is onstage singing for almost the entire show.
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad
I actually don't think there's a "G" anywhere in Evita. I think there might be one "F". It's mostly "E" and down. It's just riding Ds and Es that make it hard, especially wanted the chesty, full on belt sound.
Did anyone hear the note Eric Kunze throws in at the end of "When the Money Comes Rolling In (And Out)"? I heard him do it four nights in a row and it brought the house down. Has anyone else ever done that in that show? Wonder how high that note is and HOW does he do that?!
He took that last note and slid it up and up and up at least an octave (or two). He landed pitch perfect at the top. Somebody correct me if I'm wrong. I'm not a singer, I'm a pianist.
"So was Madonna unable to hit some of the higher notes?"
Madonna was unable to hit some of the middle notes.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
All of the keys for Eva's songs were brought down for Madonna.
Eva sings an E below middle C in BUENOS AIRES and RAINBOW HIGH. She then goes up to a G flat/F sharp in A NEW ARGENTINA. So, it's definitely a full two octave role for a woman to sing.
Not to mention all the D's, E's, E flats and F's that Eva has to belt throughout the course of the show.
"He sings that last note and then slides it up slowly, and goes up an octave.
It's quite impressive."
On the last note of Money, Eric slides his last note up one octave to a high G. I checked it on the piano. It seems to be a technique he has perfected, as I recall him doing that in Whistle and also JCS. It gives me chills when he does that.
So, if Im not mistaken, by the notes discussed the role of Eva Peron should be sung by a mezzo soprano, correct?
"People have their opinions and that doesn't mean that their opinions are wrong or right. I just take it with a grain of salt because opinions are like as*holes, everyone has one".
-Felicia Finley-
due to the low E's ( that mostly optional) yah, but mezzo or alto's could work it. Think voice type's as Idina and Sutton, they fit in between the two.
Get your pitch pipe out, the last line of high belted notes in "A New Argentina" goes up to a G on the cast recording.
And this role definitely needs a mezzo, not an alto. A true alto wouldn't be able to belt those notes. Furthermore, it takes a freakish mezzo at that. Most mezzos straight belt (from their chest) ends at the Bb to C# range. Then they go into a head/chest belt type thing for the Ds and Es that most musical theatre roles require today.
Thanks, that's what I thought. Both Patti and Madonna are mezzo sopranos I think (of course that Patti's agility is a lot better), but then Elaine Paige sounds more like an alto to me. Then again, she barely hits the notes for the role. I think a mezzo is required too, some altos have tackled the role, but they always have mediocre results. Felicia Finley and Julia Murney also have sung the score and they are mezzos and sounded pretty well I've been told. Some sopranos like Sarah Brightman sang some of the songs, and as much as I love her, I didn't think it worked out well.
"People have their opinions and that doesn't mean that their opinions are wrong or right. I just take it with a grain of salt because opinions are like as*holes, everyone has one".
-Felicia Finley-