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Evita

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Editorial Reviews

All Music Guide - William Ruhlmann
The original Broadway cast recording of Evita, released in September 1979, like the 1976 original studio cast recording from which it was adapted, was a two-LP set containing the entire work; it ran about 100 minutes. This highlights disc, issued 23 years later, does not, as many such abridgments do, simply cull out the most popular songs for a casual audience. Instead, retaining almost 70 of those original 100 minutes, it pairs away enough material to fit the rest on a single CD but attempts to retain the shape of the piece as a whole. This may have been the simplest way to do it, since the songs are often embedded in suites bridged by a recitative that would have ...
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USA 1976 CD VG+/VG+ Two CD set in a slimlne double jewelbox. Tiny, tiny cut on barcode art. No slip cover.

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Editorial Reviews

All Music Guide - William Ruhlmann
The original Broadway cast recording of Evita, released in September 1979, like the 1976 original studio cast recording from which it was adapted, was a two-LP set containing the entire work; it ran about 100 minutes. This highlights disc, issued 23 years later, does not, as many such abridgments do, simply cull out the most popular songs for a casual audience. Instead, retaining almost 70 of those original 100 minutes, it pairs away enough material to fit the rest on a single CD but attempts to retain the shape of the piece as a whole. This may have been the simplest way to do it, since the songs are often embedded in suites bridged by a recitative that would have been challenging to edit. Given the approach, the choices about what to keep and what to drop are reasonable. Naturally, the show's best-remembered songs -- "Don't Cry for Me Argentina" wedded to "On the Balcony of the Casa Rosada" and "Another Suitcase in Another Hall" -- are here, as are several other good songs. Other passages necessary to a minimum explication of the plot have been retained as well. The excisions include some of the choral numbers having to do with the rise of Juan Peron, such as "The Art of the Possible," Evita's "Rainbow Tour" of Europe, and much of the later material depicting her physical decline and death. Patti Lu Pone remains an authoritative Evita, Mandy Patinkin is still a wonderful choice to negotiate the vocal demands of Che, and Bob Gunton, with his Spanish accent, remains a curiosity as Peron. But the purpose of this version of the recording is murky. A better choice would have been to issue a shorter disc containing the show's "greatest hits," as a sticker on this one proclaims, and none of the extra sung-through dialogue.
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Product Details

  • Release Date: 11/5/1996
  • Label: Decca U.S.
  • UPC: 008811154127
  • Catalog Number: 11541

Album Credits

Performance Credits
A. L. Webber Keyboards, Performing Ensemble
Mo Foster Bass
Mike Smith Vocals, Background Vocals
Ray Russell Guitar
Julie Covington Vocals, Track Performer
Barbara Dickson Vocals
David Hemmings Background Vocals
Hank Marvin Guitar
Ann Odell Keyboards
Simon Phillips Percussion, Drums
Roy Wood Background Vocals
Lawrence Walker Background Vocals
Anthony Bowles Conductor, Choir Director
Michael d'Abo Vocals
Alan Doggett Children's Choirmaster
Jenni Evans Choir, Chorus
Jean Gilbert Choir, Chorus
Marc Harris Choir, Chorus
Jean Hawker Background Vocals
Neil Hubbard Guitar
Lorenza Johnson Choir, Chorus
London Philharmonic Orchestra Performing Ensemble
Richard Martin Choir, Chorus
Chris Mercer Tenor Saxophone
Mike Moran Keyboards
Joe Moretti Guitar
Barry Morgan Percussion, Drums
John Murray Choir, Chorus
Christopher Neil Vocals
Brian Odgers Bass
Lesley Reid Choir, Chorus
Mike Smith Vocals
David Snell Harp
Tony Stevens Bass
Peter Van Hooke Percussion, Drums
Terry Wood Background Vocals
Tim Rice Background Vocals
David Butler Choir, Chorus
David Hamilton-Smith Background Vocals
Perry Nelson Choir, Chorus
Tony Christie Vocals
Pete Long Choir, Chorus
C.T. Wilkinson Vocals
Christopher Brooks Choir, Chorus
Richard Knight Choir, Chorus
Henry McCulloch Guitar
Barry Abbotts Choir, Chorus
Demetrius Christopholus Choir, Chorus
Guy Clapperton Choir, Chorus
Roy Cullimore Choir, Chorus
Alex Fodor Choir, Chorus
Anthony McLoughlin Choir, Chorus
Boonrat Ngam-Aksorn Choir, Chorus
Andrew Painter Choir, Chorus
Andrew Prior Choir, Chorus
Jeffrey Shankley Choir, Chorus
Penelope Walmsley-Clark Choir, Chorus
Myra Sands Choir, Chorus
Peter Hall Choir, Chorus
Anna Macleod Choir, Chorus
Alastair Smith Choir, Chorus
Jimmy Cassidy Choir, Chorus
Paul Jones Vocals, Track Performer
Geoffrey Mitchell Choir Director
Stephanie de Sykes Background Vocals
Technical Credits
A. L. Webber Composer, Producer, Orchestration
London Philharmonic Orchestra Contributor
David Land Executive Producer
Tim Rice Lyricist, Producer
David Hamilton-Smith Engineer
C.T. Wilkinson Arranger
John Cabalka Artwork, Illustrations
George Osaki Art Direction
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Customer Reviews

Average Rating 5
( 2 )
Rating Distribution

5 Star

(2)

4 Star

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3 Star

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1 Star

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Covington and Wilkinson – pulling no punches

    Ah, the “White Evita” – this is not the syrupy ALW of recent days. This is a scathing character study of one of the most fascinating women of the 20th century. In this brilliant concept album, Rice and Webber pull no punches in bringing us a story of dictatorship and demagoguery. Later versions, especially the movie, have been toned down considerably. Material has also been cut out, which has stripped the story of interest and complexity. This Eva Peron is bold and ambitious she doesn’t apologize or ask for our sympathy. Julie Covington plays her with great style. Like Eva herself, Covington’s voice is beautiful, clear and cold as a mountain stream. As her counterpart (Che), Colm Wilkinson brings a much greater depth (his signature) to the role than other portrayals, and also great range from rock to the soaring rendition of “High Flying, Adored”. “Oh What a Circus” and “The Lady’s Got Potential” are such fun! The interposition of Covington’s sweet and insincere “Oh, but it’s sad when a love affair dies” with Wilkinson’s gruff and sarcastic “For God’s sake, get out!” in “Goodnight and Thank You” is brilliant.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 1, 2010

    Great Album

    I have bought this album twice, once in cassette and again in CD. There is so much talent in this album, it is my favorite Rice/Webber production. Also saw the play, like the album better

    Was this review helpful? Yes  No   Report this review
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