One of the best Evita recordings!

This new recording from 2006 is a real gem for fans. A huge orchestra, supported for the first time since the movie version back of a rock band (you can hear the concept album from 1976 is clear that the piece had been planned as a rock opera), a wonderful presentation with lots of pictures from the - obviously - great staging and a cast that will more than meet this musical. With Philip Quast the undakbare role of Peron was occupied for the first time with a truly capable and convertible singer / actor. Matt Rawle as Che has a nice, but getting used to vote, less smoky and raw than predecessor (but Che is serving as narrator in this production not of Guevara, but a simple man of the people, as in the film). Schauspielerlisch he kässt sometimes but still something to be desired. The main character is, of course, Elena Rogers as Eva. She is a renowned Argentine actress and brings with her accent, the right flair to the role, with their convincing game and (mostly) well singing but also fresh air and a rarely reached power. Let's go now to a single track:

1. REQUIEM FOR EVITA: There's shortened and lost something of his goose bumps one, but you get here the same to hear the great orchestra sound.
2. OH ​​WHAT A CIRCUS: The first example, where the new arrangements seek a more authentic, Argentine sound and it also succeeds fully. If not quite on the version of the film, it has been extended by a few lines of text to the rock part. The second verse of EvaŽs Part was added again and not, as in the film, omitted. A very convincing opener.
3. ON THIS NIGHT OF A THOUSAND STARS: Another example of the authentic sound, to the Arrangement ajar from the film. At the Magaldi of the concept recording one will ever again herangkommen but this Magaldi here is doing pretty well.
4. EVA BEWARE OF THE CITY: Sorry, Eva & Magaldi part was trimmed from. The short duet between the two nevertheless convinced by its dynamic and the performances of the two actors.
5. BUENOS AIRES: Absolutely potential hit, a new arrangement, the Latin American sounds very much and immediately invites you to dance. The instrumental part has been completely revised and the end was Showstopper-moderately increased. This song alone justifies the purchase!
6. GOODNIGHT AND THANKYOU: was re-changed in the film arrangements. Good performance, but in this song has always been the music was not as important as the text.
7. THE ART OF THE POSSIBLE: completely incomprehensible to me how in this production which now boasts even with a rock band, this song has been taken, rather than retrieve the discarded early The LadyŽs got potential. Since this number is even more visually interesting on stage as a pure piece of music, I wonder why you could not credit the other tracks the time. The new arrangements may be of interest to fans of the song - but I wonder if there are those übrhaupt ...
8. IZD BE GOOD FOR YOU: Elena Rogers and Philip Quast make the song worth listening to, but uses the new, tango-like arrangement, the erotic crackle from the song, and also the shortening of the instrumental sequence harm the dynamics.
9. ANOTHER SUITCASE IN ANOTHER HALL: Very nice, quiet package that manages with little percussion. Besodners highlight is the vocal performance of Mistress here, with her sweet pop voice one of the best in this role that I've ever heard.
10. A NEW ARGENTINA: Unfortunately, here too much reduced, what is there but is definitely the best package üpberhaupt this song.
11. DONŽT CRY FOR ME ARGENTINA: Elena Rogers proves the famous Showstoppers worthy. Along with the magnificent auspielenden orchestra makes this song one of the best versions.
12. HIGH Fyling ADORED: In this case, the arrangement was again very inspired the film, which is very positive in this case. Very worth hearing.
13. RAINBOW HIGH: A terrific New Arrangment that can come up with a great guitar sound un quite a dramatic climax. Elena Rogers is really top notch. Definitely check it!
14. RAINBOW TOUR: Thanks to the new arrangements, the piece sounds right here fresh and snappy. Certainly one of the best versions that exist. Here was trimmed from the end as Eva gets upset about the Queen of England. But even without this piece of this song remains positive in his memory.
15. AND THE MONEY KEPT ROLLING: another example of how a new arrangement already a good song can upgrade yet. Check it!
16 WALTZ FOR EVA AND CHE: I always liked personally best in the film version. Vocally but a very good performance.
17. YOU MUST LOVE ME: A beautiful and appropriate idea to the dazugeschribenen for the film song now in the stage version to take with. This makes the character of Eva something three-dimensional. Rogers proves their skills in this very soulful ballad.
18. SHE IS A DIAMOND: This song is on just about every shot, just because of its brevity, fizzles in the air. But luckily this recording with Philip Quast has nevertheless a singer has to offer, which can itself convey this song correctly.
19. INSTALLATION: A rearranged, rousing assembly. EvaŽs life draws again in her mind over and that is here dargesellt better than ever, especially with the addition of a short part of You Must Love Me, sung this time by Peron, what the relationship between the two a little better illuminated.
20. LAMENT: For the first time since the concept album the second verse was added again, which makes tangible EvaŽs motivation for their actions. In addition, it is accompanied by a large choir softly in the background, what the song actually is a sad epic feel. One of the best new recordings.

The recording features with a thick booklet, the "only" contains the lyrics of the songs included on the recording, but it put up very nice. All in all, this recording, according to the concept album that certainly best Evita album that you can get!