EVITA 2025 London Cast Recording Thread — Page 2

Nope. Vinyl LPs were always affordable which is why we all had these insane collections. We didn’t just have one or two albums of a favorite artist, we had ALL of their albums. These crazy prices are now due to their niche factor as many new collectors of vinyl have surfaced in the past years.

joevitus said: "Lol, no. They were about seven or eight bucks. A double album would be around 10-16 dollars. Opera sets and ballet scores were, for obvious reasons, pricey."

I'll also add that CDs, for several years after they were introduced, cost significantly more than LPs (as well as cassettes, which were about the same as LPs as I recall).

Updated On: 8/28/26 at 05:15 PM

FANtomFollies said: "getatme said: "I don't mind the use of the Spanish pronunciation of Argentina, except for when they don't use it during A New Argentina.

The voices are largely fine, but the album sounds rather hollow and soulless to me. The packaging is, indeed, beautiful though."

I was actually expecting that but am blown away by the lushness of the production and powerhouse vocals. I'm not exactly a Rachel Zegler fan but good lord does she have the pipes for this role."



I think the orchestrations sound amazing on the new album!

How exciting to have a new, full-length recording of this score that sounds as excellent as it does. Interestingly, one of my favorite moments is during Dice Is Rolling 2...Rachel's choices on "So I don't exist, so I count for nothing" are so strong, I cant wait to watch her eat this role up onstage. Also, Che's reading of the final lines creeped me out, I'm excited to see what kinda creepy stuff Jamie Lloyd does with that ending.

C4b2a3b said: "5. Not sure what to make of the shortened "I'm theeeeir savior". It's pretty iconic to Rachael's version and was longer in the highlights album."

I thought I was just imagining this and kept forgetting to go back and check the highlights album. So bizarre.

Dreamboy3 said: "It seems they are using a Spanish accent for geographical locations (it’s used for Buenos Aires too) and maybe because I grew up with the OBC recording I find it jarring."

There is a quality of affectation to it. If the majority cast weren't all so clearly British (that little girl singing "Santa Eva" sounding cockney!) with no one, not even Zegler using a Latin accent, and no attempt at Latin pronunciation of names, it is a baffling choice. It doesn't ruin anything for me, but it takes one out of the moment. I guess, again, considering the style of the production, it's supposed to.

Just finished listening to it. Thought it came out really well. I was worried about Rachel's...shall we say forceful tones? But at least on the recording, she acquitted herself quite well. Diego can do no wrong. The Spanish pronunciations, I don't get why it was such a big deal, they never felt out of place, or shoe-horned in.

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This new release led me to revisit the Premiere American Recording, which I haven't listined to in at least a few years. Man, is Evita a great show! It's just knock-out number after knock-out number, barrelling forward with speed and efficiency, sharp satire in almost every song. I never fell out of love with the show, but I'd forgotten just how good it is.

Updated On: 8/30/26 at 11:58 PM

I think Rachel Zegler is a marvel on this album. I saw this twice in London and frankly did not like it because I don't like Jamie Lloyd's direction generally (Sunset was the exception). But she would be reason enough for me to see this on Broadway -- joke's on me, I guess, as they're getting my money anyway.

Diego is ... OK? He has a perfectly fine voice, but I find him to be underwhelming on parts of this album. (I'm sure I'm in the minority here.)

I find myself irrationally bothered by his Peron's Latest Flame -- he sounds a bit like an uninterested Gen Zer and he's a little detached from the staccato beat. Maybe those are deliberate choices on the part of the music director, I don't know.

I listened to this recording tonight and liked it a lot.

My main point of comparison is the Premiere American Recording, which I listened to obsessively when I was a teenager. I'm happy to say that this new one, while not replacing it in my Evita-loving heart, compares favorably with that seminal recording in a number of ways.

No one is ever likely to challenge Patti LuPone in this role, but Rachel Zegler sings the hell out of it and brings her own style to the party. Diego Andres Rodriguez, on the other hand, really does eclipse Mandy Patinkin - a performer I love, and who sang his songs beautifully, but who I've always thought has too genteel a temperament for the role of Che.

I liked the orchestrations for the new recording a lot. Sometimes some symphonic intensity is lost, but I also liked the many times the string ensemble is featured in more intimate moments in the new recording, often evoking a tango-like texture.

I must admit that there was something rather specific that bothered me about this new recording. In the section of "A New Argentina" that beings with "nationalization of the industries...," the old cast album featured soloists from the ensemble voicing their various complaints individually, but this one gives the entire passage to the chorus singing together. That takes a lot of the personality out of this passage, and I have no idea why anyone would make that choice.

But that's a quibble; the album as a whole is an impressive achievement.

sassylash3s said: "kdogg36 said: "I must admit that there was something rather specific that bothered me about this new recording. In the section of "A New Argentina" that beings with "nationalization of the industries...," the old cast album featured soloists from the ensemble voicing their various complaints individually, but this one gives the entire passage to the chorussinging together. That takes a lot of the personality out of this passage, and I have no idea why anyone would make that choice.

But that's a quibble; the album as a whole is an impressive achievement."

I miss the solo parts in "A New Argentina" too, although they've actually been gone since at least the 2006 London revival. Jamie Lloyd's production restores a handful of lyrics and musical moments that have been cut over the years (e.g. "But your despicable class is dead!" at the end of the balcony scene) so I guess he prefers it that way, unfortunately."

I'm particularly happy in the intro to "Another Suitcase in Another Hall" they restored "You're obviously going through some adolescent phase," even if the actress looks/sounds like someone in her mid-20s's while Zegler is the one who comes off as a teen.

I think there's a concerted effort to eradicate individualism in this show. Have the time, the chorus girls are wearing identical costumes to Eva in the first act, and the choreography makes the entire chorus a kind of anonyous blob. I think no longer presenting those lines in "A New Argentina" as solo parts is done ot aid that effort. Honestly, the more I think about it, the more I really don't like the concepts/stylistic tropes Lloyd is working with here. I think they undermine the meaning of the show. But there's no question that in performance it all comes across as very exciting. I don't think he's intersted in telling a coherant story but in presenting "Variations on Themes of Evita." It works, but I think it works at a cost.

CarlosAlberto said: "Sutton Ross said: "Yeah, bro I was talking about the record. The inside and all the pages? Keep up sweetie."

You are such a nasty C U Next Tuesday. You need to choke on a bag…

Pendeja

You bring absolutely nothing of value to this board.

Pathetic"

Facts.