Posted: 2/1/18 at 12:09pm
I definitely think the women who belted in the 70s and 80s had (for me) a more exciting sound. Most of the contemporary Eva's use that forward soprano mix that is nasally and not very thrilling to me. Probably more healthy singing but less thrilling.
Posted: 2/1/18 at 1:27pm
After going down that youtube hole I had to end with Patti's Sunday night performance. Yup, still breathtaking.
Posted: 2/1/18 at 4:25pm
I now have a headache, but yes, Patti wins hands down. Damn, I think I now have to take back my previous post about Evita best being sung by a soprano.
That said, although Elena Roger and high notes will probably never be good friends, I find her voice very interesting overall, and thought her acting of the role of Evita was mesmerizing.
Posted: 2/1/18 at 6:07pm
That said, although Elena Roger and high notes will probably never be good friends, I find her voice very interesting overall, and thought her acting of the role of Evita was mesmerizing."
I adored her performance. She’s magical.
Posted: 2/1/18 at 6:10pm
Posted: 2/1/18 at 6:14pm
The video (at least in my opinion) captures why the score is so awful. These notes are far too high and screechy to sound pleasant - maybe Patti and some others can pull it off. But as soon as there is even a hint of imperfection it's like nails to a chalk board.
Posted: 2/1/18 at 8:28pm
Saw Patti (many times), Terri Klausner, Derin Altay, Florence Lacey, Loni Ackerman and Caroline Bowman. NO ONE sang those three high notes like LuPone (and the last one was a pip). And for some reason, LuPone's fast steps in "Welcome Buenos Aires" where she stomps her heels quickly was also never bettered by any other actress. And again, no one got the laugh response Patti got in the delivery of the line in "A New Argentina" where she sings, "We'll....pause...You'll" as she wisely defers to her husband as sole ruler. With perfect timing LuPone's line always landed while it didn't for others. Like Streisand in FUNNY GIRL, it was a case of the perfect actress cast in the perfect role.
Posted: 2/1/18 at 10:30pm
Posted: 2/1/18 at 10:32pm
Hellob said: "Why are some performers wearing a robe and others wearing a suit?"
Because they’re all from different productions...
Posted: 2/1/18 at 10:53pm
I agree with the sentiment that Patti is the best and, while the many women with powerful mixes are singing it are using much healthier technique that allows them to sustain a run of the show, it does take something out of the moment. It's written that high because Eva is shouting at a rally to her supporters. As Madonna proved in the movie, it just doesn't work if lowered into a more comfortable range.
Regarding the earlier comments about Corneau in the regional production, I was very excited when she was cast, but I found that production so abysmally directed that it was hard to enjoy myself at all. She could have been a great, fiery Eva, but it felt like the whole production was staged around making her move as little as possible so that she could always put 100% of her focus on her vocal technique. She, and the production's Che, both sang their roles so comfortably that nothing was exciting about the show.
Posted: 2/1/18 at 11:18pm
Hellob said: "Why are some performers wearing a robe and others wearing a suit?"
The Prince staging had the Perons in their pajamas during this number, while any of the stagings that tried to be “realistic” did not. So, if just depended on if the production was replicating Hal’s staging or not.
Posted: 2/2/18 at 3:09am
adamgreer said: "Hellob said: "Why are some performers wearing a robe and others wearing a suit?"
The Prince staging had the Perons in their pajamas during this number, while any of the stagings that tried to be “realistic” did not. So, if just depended on if the production was replicating Hal’s staging or not."
Thank you.
Posted: 2/2/18 at 6:56am
CurtainPullDowner said: "Where's Nancy Opel?"
I’ve only heard one recording of Opel, and I found her high notes disappointing. That being said, she was very young (probably about 25 in that recording) and was more of a soprano in her youth. After all, she did go on to play Hope Harcourt, and she must be the only woman to play both Eva Peron and Hope Harcourt in professional productions.
Posted: 2/2/18 at 10:08am
Is there a vocally equivalent role for men, in terms of the vocal and length demands of Eva Peron? Jesus in "Superstar" is close, but less demanding: the whole show isn't carried on the belts and screams, and it's much more of an ensemble piece.
Perhaps the closest is done consistently in "concert stagings" and regionals, but never on Broadway: Pink in "The Wall." The mix of soft crooning and insane screaming and howling is EXTREMELY vocally demanding, and most stagings have Pink as the lead vocal on every song except a handful.
Posted: 2/2/18 at 10:13am
darquegk said: "Is there a vocally equivalent role for men, in terms of the vocal and length demands of Eva Peron? Jesus in "Superstar" is close, but less demanding: the whole show isn't carried on the belts and screams, and it's much more of an ensemble piece.
Perhaps the closest is done consistently in "concert stagings" and regionals, but never on Broadway: Pink in "The Wall." The mix of soft crooning and insane screaming and howling is EXTREMELY vocally demanding, and most stagings have Pink as the lead vocal on every song except a handful."
I would say Che in EVITA and Judas in JCS.
