I think you can judge elements of a performance before you see it live. We are, after all, to a degree judging the performance that Sara Ramirez might hypothetically give based on hearing her sing one number from the score in a concert setting. As for Rogers, I'm willing to give her a shot, but, based on things I've seen or heard of her, I've already judged her a little (sorry) and don't have especially high expectations.
"Art, in itself, is an attempt to bring order out of chaos."-Stephen Sondheim
While her voice has a depth and power that is virtually unmatched in the modern theater world, the amazing thing to me about Ramirez is her presence. She can command a stage simply by batting an eye lash in a way that you just don't see anymore. Prior to when she broke through in SPAMALOT, she was already giving stunning performances filled with bold, original choices in shows like A CLASS ACT and THE CAVEMAN on Broadway and (particularly) as Petra opposite Patti LuPone in the Ravinia concert version of A LITTLE NIGHT MUSIC. It comes across well on film too, but live, she's just magnetizing.
I'd love to see take on a role like The Leading Player in PIPPIN that would utilize her immense persona just as much as her powerhouse vocals. She's one hell of an actress. That kind of material also has a dark edge that she carries off so well but so seldom gets to show (which is why I also suggested Queenie in Lippa's WILD PARTY for her earlier.)
There is just so much she can do. Frankly, she's the kind of once-in-a-generation talent that shows need to be written for. Of parts that come to mind, though, another is Gussie in MERRILY WE ROLL ALONG. Can you imagine that "Good Thing Going"?
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
It is true that Elena Rodger's voice on the recording is not particularly wonderful. The recording was made a while before the show opened, and she was definitely not prepared to record the score at the time. On stage, she really delivered. She was better rehearsed and more comfortable with the score by then. I do agree that she does not have the belting power of Patti or Elaine.
Let's also not forget, Patti couldn't exactly sing the score all that well either. She struggled with it throughout most of her time with the role. It is a very difficult score to sing for the character of Eva. It was not unheard of to go through two, and on at least one occasion, three Eva's in one night. It is very taxing on the voice.
I'd like to see what she could do with Bells Are Ringing, Annie Get Your Gun, Once Upon a Mattress, and Kiss Me Kate.
"The gods who nurse this universe think little of mortals' cares. They sit in crowds on exclusive clouds and laugh at our love affairs. I might have had a real romance if they'd given me a chance. I loved him, but he didn't love me. I wanted him, but he didn't want me. Then the gods had a spree and indulged in another whim. Now he loves me, but I don't love him." - Cole Porter
adamgreer, did you see the London production? Have you seen Elena's performance?
I'm not judging her performance, I'm judging her horrendous vocals, both on the cast recording and other live performances that she's done.
And I stand by my assertion that Eva Peron should, first and foremost, possess a knock 'em out, belt to the rafters voice. And, as even Roger's defenders admit, she does not have that. Her acting may be phenomenal but she does not have the vocal chops for this role. Give me Patti or Elaine Page any day.
I love Elaine's and Patti's Evas, but neither of them belted the score to the rafters live. The high Es in 'A New Argentina' were sung by Elaine in her head voice.
And I think Elena's vocals are beautiful, and I'm not exactly uneducated in terms of musical performances. Her 'Buenos Aires' is probably my favourite rendition of that song, as is her 'Lament'.
She didn't get her Olivier nomination for her performance for nothing. Past Elphabas could only dream of getting the notices Elena got in London.
As for this video of Ramirez, those riffs are incredibly annoying.