The result can be m. E. be heard well:
Madonna had initially let for some derision that they transpose many numbers, including "Do not cry for me, Argentina", so let's set deeper. But first, the other singers already have done, even large opera stars. Second, the role of Evita in the original is so high that sound with most trained musical singers many places just squeaky and sharp. This may have been partly intended to emphasize the artificiality of the image which the public drew the Evita of itself. But Madonna reaches the expression differently. Overall, I feel a very strong sense of identification of singer and role. Rein vocally I Madonna rarely heard better. Me convinced.
Even Antonio Banderas' performance was initially ridiculed, also wrongly, in my opinion. He is a wonderfully tough, sarcastic Che. I have the role already musically heard a lot worse, especially the rocking numbers succeed well.
Jonathan Pryce, however, is not a singer nor trying to be one. He puts the Peron as voice and is in its stiffness based on very strong contrast to the two protagonists.
Jimmy Nail finally is a wonderfully sleazy and yet charming Magaldi.
The version of the play itself is the original concept album closer than later stage versions -. For example, is here Ches delightfully zippy "The Lady's Got Potential" included again. The Arrangement is a cross between the original Rock Band and the later stage orchestra, somewhat smoother and more bombastic than the original, yet bulky enough.
That Madonna has the beautiful number "Another Suitcase in Another Hall" annexed, whose resigned melancholy actually does not match the strong-willed Evita - paid, she sings him after all, very nice. The specially for the film by Sir Andrew Lloyd Webber newly composed song "You Must Love Me" is rather insignificant in comparison with the rest of the piece, but does not interfere.
Overall, worth hearing and have values recording of Evita, when the original concept album is the first choice for me still.