Great music, great voices - a kaufenswerte Version!

Unfortunately I have no other version of EVITA heard as this, but in my opinion it is very good. Madonna does not just play surprisingly well, but her voice is here again a hit. Antonio Banderas has a surprisingly good voice, but somewhat sarcastic would actually be. Nevertheless, it fits well with the role. And Jonathan Pryce has anyway already experience in musical theater. The supporting cast stand out not so, but are still nice to listen to. Although I was not such a big fan of Lloyd-Webber musicals before, but I have to say, has convinced me Evita from the outset. The music is very well balanced and full of feeling. Likewise, a few tiny passages were cut on the CD that were in the film too long, which is also very well done. The only thing that bothers me is that the volume when the choir sings is low. But get used to it.
CD 1
1. A CINEMA IN BUENOS AIRES, JULY 26, 1952: The story begins, as in a movie theater angehaöten the film and will announce the sad news of the death of Evita's. This is actually more or less a section of a Spanish-language film, rather than a proper song.
2. REQUIEM FOR EVITA: Right after it becomes the cruel dramatic Requiem, the short contains the melody of a later track, Rainbow High. The drama even come across well on the CD. In particular, the transition from this drama to the next, rather funny piece it should be noted.
3. OH WHAT A CIRCUS: Light, loose Argentine guitar sounds as compensation for Requiem together with a delightfully evil Antonio Banderas as Che Guevara. In this song there is a transition, at first on a hard rock number, then a quiet version of Do not cry for me Argentina.
4. ON THIS NIGHT OF A THOUSAND STARS: From this point the actual story with Eva Duarte and her first "Lover", the tango singer Augustin Magaldi, who gives this beautiful nostalgic titles at the best starts.
5. EVA BEWARE OF THE CITY: A beautiful duet Magaldi and Eve, which includes many musical ups and downs and changes. Very interesting.
6. BUENOS AIRES: Madonna's big first solo. a fast, rock sounding number with hot Latin beats and a beautiful interlude, virtuoso singing.
7. ANOTHER SUITCASE IN ANOTHER HALL: A sad ballad, is accompanied with a beautiful chorus at the Madonna by a choir.
8. GOODNIGHT AND THANKYOU: Again a perfect counterbalance to the previous song. This song has really something: It seems the music at first very strange - perhaps a mix of rock and brass bands -, however, can quickly become the favorite Shit, not only because of the music but because of the mischievous lyrics that by Madonna and Antonio are perfectly rübergebracht.
9. Lady's GOT POTENTIAL: A great rock number with Antonio Banderas supreme pop! Unfortunately this title is because he also has no interlude or other variety, just a bit long fall. But that's forgiven quickly because in this song anyway drinsteckt also a lot of action.
10. CHARITY CONCERT / THE ART OF THE POSSIBLE: The first number of a few, which can actually function as a dialogue without music. In such "narrative numbers" can easily occur that it starts to sound silly. However, this is balanced here by a reprise ON THIS NIGHT OF A THOUSAND STARS at the beginning and the short ART OF THE POSSIBLE end.
11. I'd be surprisingly good FOR YOU: Absolutely brilliant duet of Madonna and Jonathan Pryce, so Eva Duarte and Juan Peron. Very quiet, mysterious, erotic piece. Especially great here is the lascivious saxophone and Madonna's whisper in the final stanza.
12 Hello and Goodbye: The next narrative number. This is much better managed because they are in the normal pieces is musically and lyrically close. Übrigesn interesting that ANOTHER SUITCASE IN ANOTHER HALL, which is only alluded to briefly, was first sung entirely at this point in the original piece.
13. PERON'S Latest Flame: The number begins rather boring and reminded of brass band music, then becomes a pretty nice rock number. Well done is the high society and the army, how they tear the mouth about Eva. No Highlight.
14. A NEW ARGENTINA: The 8-minute final of the first "act" is also re a very rocking number in the Madonna's voice again comes across really well, alternating with Jonathan Pryce and the choir. Great number.
CD2
1. Casa Rosada PART 1: This is more a narrative number that has not much music per se.
2. DO NOT CRY FOR ME ARGENTINA: Embedded in both parts CADA ROSADE comes this world famous ballad. This version is very classic, almost corny, but that is absolutely made up of Madonna's great and credible performance.
3. Casa Rosada PART 2:. S Part. 1
4. HIGH FLYING ADORED: Another wonderful balance. This tranquil number impresses with the simplicity, the beautiful melody and the orchestration.
5. RAINBOW HIGH: Even a musical number getting used to, but a really great with a successful increase and a recapitulation of both A NEW ARGENTINA and Buenos Aires.
6. RAINBOW TOUR: Loose rock number, well sung and also nice to listen.
7. THE ACTRESS HAS LEARNED THE LINES Not: Even more of a narrative number with a nice reprise of ANOTHER SUITCASE IN ANOTHER HALL. Ends bedorhlich, but which is well balanced even contradicted by the next song.
8. AND THE MONEY KEPT ROLLING IN: From the choir sang along with Antonio Banderas. A beautiful, rich number.
9. PARTIDO Feminista: Even a narrative point, very briefly and very unnecessary.
10. SHE IS A DIAMOND: A short piano ballad of Juan Peron aka Jonathan Pryce. Also rather unnecessary, but nice.
11. SANTA EVITA: A cute number, sung by a children's choir. Very nicely done.
12. WALTZ FOR EVA AND CHE: A very sarcastic, lusitger waltz in which Madonna and Antonio last time occur together. Basically, the chorus is a reprise of GOODNIGHT AND THANKYOU.
13. Your Body's Breaking Down: Another narrative number. The second CD is a total of more serious and emotional, while the first total more musical highlights offers.
14. YOU MUST LOVE ME: This song is not included in the piece and was written by Webber especially for the film. A very sad, beautiful ballad that nahgeht properly.
15. EVAS FINAL BROADCAST: The last time that Eva uses the public. A reprise of Do not cry for me Argentina. This title is due to the constant sobs and intentionally thinner voice very honest and credible. Great.
16 LATIN CHANT: Mourning song for Evita's death. Rather superfluous.
17. LAMENT: The actual final. Very melancholic and quiet, very moving. That the musical has this output is also wonderful in contrast to the many titles happier.
CONCLUSION: Madonna or not, purely vocally the Broadway or London Low EVITA are probably more convincing. But who like me think that the movie and the performance of the two main characters Madonna and Antonio Banderas is just awesome who needs this CD!