Evita Recordings

I must admit that I am biased, because I bought Madonna's version while a teenager, but although I think Patti Lupone is waaaaaaaaaaaaaaaaaaaaaaaaay better than Madonna and Mandy Patinkin is million times better than Banderas, I don't enjoy the original B'way recording that much.
Any better recordings of ALW's masterpiece?

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Evita's an odd show, at least for me when I wanna choose which to listen to.

I do like the soundtrack quite a lot even if I don't think any of the leads are great, they're all more than adequate, I like the orchestrations which are a bit of a mix of the Broadway and the concept album's rockier sound, and for the most part like the song choices.

The Broadway recording is kinda essential if you're a fan, though I kinda understand your feelings on it. I think I like it more--it's my fave of the three major stage versions, and reflects the brilliant Hal Prince production, but I'm nto sure it'd be a fave...

The London revival one is highlights, and I don't play it much although I've been told it was great to see on stage... As for the original cast album--the Elaine Paige UK one, it's also highlights only and is oddly a rather dull listen. It's just not very well produced or something and comes off as very lifeless (something which a friend of mine says didin't represent the original London production at all). It is interesting if you're obsessive like I can be because they made some lyric changes by the time it came to LA/New York, as well as revised the orchestrations (which sound pretty thin here). Annoyingly too the songs are all slightly (or more) edited to fit on one record--and liek I said many left out completely..

However I think the original concept album has a LOT to recommend it if you're a fan. Julie Covington is simply great as Evita (I still find it odd she declined the role on stage), I'm no big fan but Colm Wilkinson is a good Che as well. It's by far the most "rock" version of the show (a bit more like Jesus Christ Superstar) and of course when Hal Prince agreed to do the show he wisely suggested numerous changes to make it work better on stage than just as a record (notably cutting Che's silly insecticide subplot--some of the music for which was re used in the film). Anyway, I'd really recommend picking it up--it's fascinating to see how the show changed, and it's a great recording (although I believe the CD is an older release with so so sound and hasn't been remastered).

Updated On: 5/10/11 at 03:51 AM

I'm very much enjoying the London revival recording. The new orchestrations are pretty fierce (Art of the Possible, anyone?), as is Roger's voice. I think her 'phonetic' singing adds to it, giving it a raw edge. Also, because it is 'highlights', it cuts some of the odd bits that cause the OBCR to drag a tad, as great as its performances are. The OLCR is a tiny bit dull, but has its moments. Not a fan of the Concept album, largely due to its rockier, rough sound. Can't say about the Soundtrack. It's the only one I don't have.

If anyone has heard it, the bass part in the Australian recording's "Buenos Aires" is infectiously odd.

I'm a bit surprised no one else much likes the concept album--I love the rockier sound, which the movie used some of, though I think Prince was wise to request the changes he wanted for stage, but it's a nice alternative (ok that insecticide plot is just bizarre and campy--and something I don't even understand).

Choitoy--thanks I think you're right that it was remastered, though I don't own it. I guess I was thinking how some fans were upset that they never remastered the Patti recording--due partly as at the time they were pushing the new recording.

I think the film soundtrack is the best one also.

I grew up with the OBC and I never understood why Patti yelled all the songs. To me she was just screaming all the time and I found it unlistenable. Even though Madonna didn't hit the high notes, I felt the voice/character by Madonna was humanized and brought down to earth in the recording.

Waltz for Eva and Che is probably my favorite on that album.

and of course,..You Must Love me.


all this nostalgia..now I want to see it.
Can't believe that film is already 15 years old.

Back when I bought the concept album in LP form, I remember reading somewhere someone describing Julie Covington's voice as like "celery". Always liked that description of the crispness and coldness I felt from her Evita.

The original concept album and OBC shaped my expectations of Evita a long time ago. But I agree that the insecticide subplot was unnecessary should have been zapped out.

I find the soundtrack to be pleasant, easy listening. That, however, is NOT what Evita is. Evita is exciting, larger than life and sometimes a little strange. For me, that is what the OBC is.

I'm not the biggest Lupone fan (never found her to be anything special in Gypsy), but her work on Evita is extraordinary. There is some tension in her voice on the cast recording, but what do you expect? It was recorded over the course of two weeks while she was doing the LA run at the same time. Only Wonder Woman could get through all of that unharmed. If you go to "that site," there is audio from the soundboard of the opening night on Broadway. Listen to it. It's thrilling and Lupone has never sounded better singing the score.

The orchestrations on the OBC are better than on the OLC and the tempos are faster, not to mention it's the entire score (not highlights). The soundtrack has some really lush, elegant orchestrations (though every now and then it sounds very, well, 90's) and they do an admirable job of working around Madonna's limited range, but songs that should knock you over like "Rainbow High" and "A New Argentina" just don't register. Also, they totally sanitize Eva Peron on the soundtrack, giving all of her coldest, sassiest and powerful lyrics to other characters or just eliminating them all together ("But your despicable class is dead...", "Who the hell does the King of England think he is..." ALL of "Dice are Rolling").

It also changes the dynamic between Eva and Che, as well as Eva's placement in the whole show. In the movie, Eva never does, well, ANYTHING. We see her do a lot of charity and dance with different men and that's it. I remember while Che would sing about her crooked doings, I would always think "What is it that she's actually DOING?" There's no danger to Madonna's Evita. She's just there: singing fairly well and looking pretty.

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I actually really like the Icelandic recording...something about them is pretty kick ass, and the orchestra is on fire!

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I would like the Caryn Lyn Manuel recording more if it didn't feature synthesized strings and a generally tinny sounding orchestra. The fact it's live just makes that all the more unforgivable.

My fave recorded Eva is Patti but the awful mixing on the OBC (oops, I mean the American Premiere cast recording) really puts me off. Half the orchestra is buried in the background somewhere and parts of it are offensively loud. The vocals are great but sometimes are mixed in too loud...Magaldi, for example.

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I just feel that Madonna is at least trying to hit the high notes, and although she doesn't hit them in a powerful way, she attempts to hit them. Patti could hit them and doesn't even attempt to, she doesn't use her head voice at all, and she certainly has the talent to.
I feel the same way about her recording of Sunset BLVD. It's dull and lacks emotion.

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I've yet to hear the Icelandic or European tour cast recordings.

The one I always listen to is the American Premiere Recording since it's complete AND Patti and Mandy are amazing.

If the London revival had a complete cast recording, I would listen to that more often since the new orchestrations kick ass and are less lazy than the originals. Also for Roger and Quast - phenomenal cast members.

Updated On: 5/11/11 at 03:43 AM

I just feel that Madonna is at least trying to hit the high notes, and although she doesn't hit them in a powerful way, she attempts to hit them. Patti could hit them and doesn't even attempt to, she doesn't use her head voice at all, and she certainly has the talent to.

I might be a little dense, but I have no idea what you're saying.

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Patti's high notes on the words "He supports you, / For he loves you, / Understands you, / Is one of you" followed by her low notes on "If not, / How could he love me" remain one of the three or four most intense goose-bump moments I have ever had sitting in a theater.

Let me think what those would include...:

* Patti LuPone's high notes in "A New Argentina" (Evita)

* Angela Lansbury, bowing after "Rose's Turn" (Gypsy)

* The female ghosts taking over in Michael Bennett's staging of "Who's That Woman?" (Follies)

* Debbie Allen's high kicks in "America" (West Side Story)

* Eileen Heckart's silent scream (Mother Courage)

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