Customer Reviews

Evita (2006 London Cast)

5 star:		(3)
4 star:		(4)
3 star:		(3)
2 star:		(0)
1 star:		(1)

 

 

It dawned on me awhile ago that no matter what your opinion of Andrew Lloyd Webber, if he had only written three musicals: "Jesus Christ Superstar," "Evita", and "The Phantom of the Opera," he would still qualify as one of the greatest musical composers of the last forty years. The fact that he has been so prolific and adventurous in his material only elevates him in my mind. I can't help but appreciate his love of musicals, even when he doesn't quite hit the mark. Really-- besides Sondheim (obviously)-- who has been trying out new, even experimental, ideas to such a degree for so long?

Think about it for a second: while most composers take easy approaches (especially these days, when the norm is to adapt recent and well known films), Lloyd Webber has written shows about cats (based entirely on a book of poems, no less!), fading Hollywood movie stars, the Troubles in Ireland, racing trains, and even one about a girl in the bible belt who thinks the convict hiding in her barn is Jesus. Whatever you think of his musical style (Too bombastic! Too many recycled melodies!) or the shortcomings of his lyricists, he takes more chances than most composers and there are memorable tunes in virtually every show he has written. And though the three I mentioned as his best are all pretty early works, I don't think he's lost his touch: "The Woman in White," his latest, was way underrated. I mean, come on, it is SO much better than most scores we get from most ANY musical composer (and David Zippel's lyrics, unlike some of Lloyd Webber's other collaborators, are right there on the same melodramatic wavelength as the material and music).

Anyway, if I sound defensive it's because Lloyd Webber's "Evita" was the musical that hooked me on cast recordings, and it's one I really don't get tired of hearing (especially with so many recordings available to keep it fresh). The music is excellent, Tim Rice's lyrics are superb, and the whole show is innovative in its deliberately nontraditional storytelling. In short, it's one of my all time favorite modern musicals.

So now we have another version to add to the lot: the London 2006 revival recording. First things first: unfortunately, it's a "highlights" version and not the usual 2-discs you expect from "Evita" recordings. So, a disappointment there. Still, most of the important stuff is here, save "Peron's Latest Flame," which was always one of my favorite numbers in the show. To cut that song is almost inexplicable (I hope it's still in the show!). I do, however, like the inclusion of "You Must Love Me," the Oscar-winning number written for the movie version. It's nice to hear it in this theatrical context.

The orchestrations throughout are also really good. Revamped by Lloyd Webber himself, they do add an extra Argentinean flavor, just as the liner notes say the intent was (at least it's what I imagine Argintenean flavor to sound like-- not an expert here on South American song stylings). There are lots of changes from previous recordings-- some quite large, others more subtle. Perhaps the most noticeable changes are a reworking of "The Art of the Possible" that is pretty cool sounding, and an updated version of the "montage" near the end.

Also adding a bit more of that Argentinean flavor is Elena Roger in the title role (she ought to-- she's from Argentina!). She's great in the role, coming across as sort of girlish, yet with a powerful harshness; she lends an authenticity to the proceedings with her conviction and Latin accent (the accent is an asset, not a problem-- she sings the lyrics with amazing clarity). I don't feel up to comparing the various Evitas, as they all have their own good qualities, but probably the best I can say about Roger is she is far from a carbon copy of any previous actress (impressive, given the amount of women who have recorded the role). Matt Rawle as Che and Philip Quast as Peron are both perfectly good, if not quite as distinctive.

So this is a really good recording overall and will get plenty of repeat playing from me. "Evita" will always be "five stars," but for rating purposes, I have to dock one star here for not quite giving us the whole score. I really don't know what they were thinking. It's even packaged to look like a usual 2 disc set! So a minor disappointment in what is otherwise a really worthwhile album.

... this is only a highlights recording. But before we get to this fact, one has to say a few words about the musical itself.

Over the years Andrew Lloyd Webber has made many musicals, some more successful and appealing to the public than the others. Most people will, however, agree that "Evita" remains one of his most satisfying works to this date. Numerous reasons confirm this statement. Just like in its predecessor "Jesus Christ Superstar", "Evita" is almost entirely sung-through; the lyrics are witty and appropriate; the subject matter is again a personality larger-than-life who rises from obscurity and dies at the peak of its fame, thus becoming a legend; the score is captivating and appealing to the listener, at home or in the theatre. The subject matter is quite well know, but let us repeat the essentials for the ones who are unacquainted with it: We follow the life story of Eva Duarte Peron, wife of post-World war two president of Argentina, Juan Peron. However, the musical is very loosely based on the actual life of the real Evita. The story follows Evita from the day of her death in July 1952, and then we have flashbacks until that moment, covering her coming to Buenos Aires, alleged love affairs, meeting Peron, being the first lady and dying of cancer at 33.

This CD is the cast recording of the newly directed 2006 London production that opened in June in London's Adelphi Theatre. This is the first production that did not use Hal Prince's renowned direction, but instead it has Michael Grandage, one of the best contemporary British theatrical directors. The cast who delivers the glorious score is for the most part, well picked. Elena Roger, a tiny, blue-eyed young Argentinean , brings a welcoming freshness to the role, sung in the past by some of the best female voices in the theatre, such as Patti LuPone and Elaine Paige. Elena seems to understand that the role of Eva Peron needs to be acted as well as sung. She brings a new touch to the songs we've heard performed so many times before and although Patti LuPone's Evita will by all accounts remain unmatched, Elena Roger found both her voice and character, despite the fact that at some points she sounds as if she is struggling to hit the highest of notes. Her rendition of `Buenos Aires' is one of the highlights of this recording, but one must note that the famous `Don't cry for me Argentina' needed a bit more of the vocal range in Elena's take of the refrain reprise.

Matt Rawle's Che gets a mixed review. He can be quite good at times (like in `The money kept rolling in') and yet he has the tendency of singing too much in a high voice, similarly like Mandy Patinkin on the 1979 Broadway Cast Recording. I always felt Che needs to have a deeper voice, as sung by Antonio Banderas, Colm Wilkinson or David Essex. Philip Quast makes a fine Peron, but his presence on this album, due to its highlights nature, is barely noticeable. Lorna Want's Mistress is a gem in her rendition of 'Another suitcase in another hall'.

The new orchestrations sound fresh and have more of a Latin American and tango flavor than the previous ones. `Buenos Aires' has a new lush melody in between the verses and the discreet accordion sound in `I'd be surprisingly good for you' is a nice touch. However, there are some quite unnecessary cuts made in the music. So in the latter song the charming orchestral play of the melody between the refrains is completely cut, which takes a lot from the song's appeal. The same has been done with `You must love me', which is beautifully performed by Roger, but the lack of the orchestral solo is something which is very noticeable and not called for.

The lyrics of Tim Rice, one of the main assets of this show, haven't lost any of their wittiness and one has to mention the fact that the entire second verse of `Lament', which can be only heard on the 1976 Concept Album with Julie Covington, is now fully used for the first time on stage. This is very important, since not only does it gives an important insight into what authors conceived as Eva's motivation (the need to be loved), but also it makes the whole story line more complete. This is certainly the most touching number on the CD: Roger gives a truly moving performance and there is a discreet choral accompaniment here, which gives a moving note to it all.

Finally, to the issue from the beginning of this review. This is, sadly, only a highlights CD of this production, and what's worse, it has less material than the highlights album of the movie soundtrack with Madonna. It remains unclear why the author's didn't go for a full 2 disc edition, even more so, when the last one was done in 1979, with Broadway Cast Recording. No matter what the reasons were, there was 10 more minutes left to fill on this CD and it is just about enough to round off the story. Some of the things missing in the musical numbers on the CD are: `Eva and Magladi', the introduction to `A new Argentina' or the last Eva's lines from `The rainbow tour'. There is also a question of the reason for including `The art of the possible' (which is more of a number to be seen on stage than to listen) and omitting of `Peron's latest flame' altogether. These are the main reasons this CD is not as good as it could have been. Let us hope that this issue will be resolved if this production makes it to Broadway in the near future. The CD itself comes in a nice sleeve case, lyrics, director's notes and a couple of production pictures.

For those of you who are getting acquainted with the story of Eva Peron for the first time I must point out: Bear in mind that this musical is only loosely based on the life of the real Evita. As much as Tim Rice's lyrics are craftily made, they lack a lot of historical accuracy. As a historian I became very interested in Eva Peron's life story so I did some research after seeing the movie. It turned out that the authors based their entire work on a single book called EVITA: THE WOMAN WITH A WHIP by Mary Main. The author belonged to the rich Anglo-Argentinean part of the society that was naturally opposed to Perons. Today's historians concur that this book is based on rumors, lies and myths, written with the single purpose of slandering Eva Peron as much as possible. It contains no footnotes and no bibliography. The authors used it mainly because it was one of the few books available on the subject in the English language during the 70-is. So one should be very careful in making any conclusions based on the musical or the movie alone.

All things considered, this is a nice addition to your existing Evita cast recording collection or a good souvenir from the show. But for the people who want to enjoy Evita completely, I would recommend to go for the more complete recordings: 1976 Concept Album with Julie Covington, 1979 Broadway Cast with a Tony-winning Patti LuPone or 1996 movie soundtrack with Madonna.

What a wonderful collection of Andrew Llyod Webber's songs from the very fantastic musical Evita! Everything about this cast recording is top notch: cast, orchestra etc. I give this Revival Cast Recording 5 stars because of the following:

1) Elena Roger = A incredible NEW take of Eva Peron! We can't compare Patti LuPone (who is my favorite Eva Peron) with any of the cast recordings of Evita. Every actress has a unique take on Eva Peron including Elena Roger. She has the vocal stamina, power, and feeling with every song she tackles. "Buenos Aires" and "You Must Love Me" are just two examples of her superior vocals and acting skills!

2) Matt Rawle = a wonderful Che! I just love to listen to every song Matt Rawle is in because he has such control over his voice and he is on of the few actors, that have played Che, with a natural sounding vibrato!

3) The orchestra is on fire! It's enjoyable and fresh etc.


I recommend this cast recording to anyone who has an open mind and enjoys all types of takes in the great musical Evita!

I was surprised, to say the least, when it was announced Evita was going to be revived in London's West End. My thoughts on it were mixed, though mostly wondering what bright-eyed starlet they were going to have play Eva, but I gave them (The creative and casting teams) the benefit of the doubt. I was astonished. Elena Roger not only can san sing and dance, but she seems to have what all the other Eva Peron's before her were missing.
She knew who Eva Peron was, from growing up in Argentina, so she had learned as a girl about Peron, and knew more about her than I'm fairly certain others did.
I was sightly upset that this was a highlights album rather than the full recording, but I'm glad to hear "She is a diamond" made the cut, because Philip Quast is a phenomenal actor and was brilliant as Peron. I''m glad to see his range hasn't diminished at all since "Les Miserables"
Matt Rawle was brilliant as well, playing the ever enigmatic Che, though he did sound strained a few times, but all in all, I think it was worth it.

I don't agree at all with the reviewer who thought this was a cheap rip-off. I would say if you want to get only one Evita version, get the original broadway cast from 1978, with Mandy Patinkin and Patti LuPone. But after listening to that one for the past 30 years, I wanted to try something slightly different. This one is very good, better than the original in some ways. This is the London 2006 cast. According to wikipedia, that version got good reviews but went out after a short run due to too many good musicals in London at the time.

Wow. If I were only able to own one recording of "Evita," this is the one for which I would reach. The highs on this album are breathtaking, and the lows are few. Matt Rawle's Che is a sarcastic, scathing decrier of the Peron regime. Philip Quast's Peron is absolutely brilliant. His deep rich baritone gives him the authority and, when necessary, the concern needed for the part of Peron. The Mistress in this recording is brilliant too, heartbreaking and just the right age. (Other recordings have had Mistresses who were either far too old or far too young.) Magaldi is a happy medium, not as ridiculous as some I have heard, but nothing to write home about either. Of course, the real star of this recording is Elena Roger, the only Evita to date who is entirely likeable, even though the Che of this recording is so effectively adamant about his dislike. My only problem with this recording is that it is a highlights recording. The cuts are somewhat strange as well. "Peron's Latest Flame" and "The Lady's Got Potential" would have been excellent tracks to include, but they are not here. Also, the fairly pointless "Art of the Possible" has been left in.

High notes: "Buenos Aires," which is in my opinion the best version of this song ever recorded. Pure passion and energy.
"A New Argentina" gives me goosebumps every time.
"And The Money Kept Rolling In" highlights Che's scathing sarcasm in such a way to make it obvious, and it is brilliant.

Low notes: "The Art of the Possible." If not for Quast contributing to the vocals on this song, I would never listen to it, and I rarely listen to it as it is.
"You Must Love Me," a song which I think detracts from the overall meaning of the musical. However, when lines from this song are echoed in the Montage, it lends the show significant sentimental value. Plus, it is sung so beautifully it's impossible to pass up.

This album is good, but it is not great.
I love the voices and new interpretation of the songs, but
I cannot say I love Eva Peron of this particular album. In my personal
opinion, Madonna sings better for certain songs like 'New Argentina'

It is a great album, but I would rather go for Madonna and Patti LuPone.

I've always believed "Evita" was ALW's most intelligent and most important work-- a fully realized (if not arguably biased) exploration of the life of Eva Peron. I know the "Phantom" phans out there will disagree, but I don't think anything else ALW did was as significant or musically brilliant. Add Tim Rice's lyrics, and what you have is a bona fide diamond in the musical theater pantheon. Only Mama Rose is a more coveted female role-- maybe.

First there was Julie Covington in the experimental stage, then Elaine Paige in the original London cast, who seemed to play it with a nudge and wink. Somewhat more recently, Marti Webb-- another ALW alumnus-- did a largely forgettable studio album of songs from the show. As for the movie, I think Madonna did a very respectable job and was largely overlooked. The CD largely holds up as a document of the film, with Madonna's singing effective, and Antononio Banderas a complete surprise as a competent, if not always attached, Che. Such is the problem with soundtracks, the lack of interaction among cast members that is vital to stage.

But this has always been Patti's show, and always will be.

Patti Lupone was uniquely qualified to play Evita when it opened on Broadway in 1978. She had the attitude, the talent, the brass, and those pipes. She will always be the quintissential Evita. Mandy Patinkin was an admirable Che, well before he descended into the manic Broadway hyper-belter that Sondheim undountedly had a hand in creating. The Lupone Evita, on 2 CDs, with most of the inceidental music and an incredible record of star-making performance, will forever be the most important recording of this show.

Now, nearly 30 years later, Evita is being revived on the London stage, at the Adelphi Theatre, and garnering rave revues. I've been waiting months for this CD, and I'm not disappointed. Elena Roger is a stunner of an Evita, vocally directed to shift from a street-wise Spanish accent in the early songs ("Buenos Aires") to a still Spanish but lyrically elegant Evita as she rises to global sainthood. Lupone's brass isn't obvious. This Evita isn't as flawed or damaged as Madonna's interpretation, but definitely handles the demands of the score. The "Don't Cry For Me Argentina" number is exquisite, and she achieves some drama in the "Rainbow High" number that even alluded Lupone. Listen to this woman belt "I'm their savior!" at the key moment in the song-- this probably stops the show every night. The addition of "You Must Love Me," the in-out song that, after Madonna, now seems will be a permanent part of the show, is performed with delicacy and anguish-- I'm not sure Lupone could've pulled off the quiet desperation as perfectly as Elena Roger does.

This Che takes some getting used to. Matt Rawle sings the demanding role with energy and, at points, quite beautifully. He never emulates Patinkin, which is appropriate. He also has a strong Cockney accent at points (particularly in the early numbers) that come off at first as startling. He too refines it by the time "High Flying, Adored" comes around, and he's excellent in the "Waltz for Eva and Che." Elena Roger's Spanish accent works wonders here; Matt Rawle gets a bit distracting, even with his astonishing energy and vigor. At points, he sounds like he should over at the Prince Edward Theatre in "Mary Poppins." Happily, Phillip Quast comes across as a more youthful, vocally strong and beautifully sung Peron-- he may be the best Peron yet. Gary Milner is a respectable Magaldi, the joke of the 1978 version having worn thin by now.

Orchestrations are excellent. Some very interesting dissonance at important points, quieter and more like a chamber group at others. My major regret with this recording is that it's on one CD, so much of the incedental music we've been listening to for years on the Lupone 2-CD version is missing. This hurts, not only because the score is so good, but because this cast is excellent. Still, coming in at an hour and 10 minutes, I'm not complaining (much). A complete recording would have earned it 5 stars.

This is one of the few revivals that honestly stands up to the original-- something you can say for very few shows. It won't replace Lupone and Patinkin (as Faith Prince and Nathan Lane did with the 1992 revival of "Guys and Dolls," for example), but this is an excellent recording, and an absolute must for any fan of this show-- which, I believe, includes anyone who calls themselves a fan of musicals. Great stuff- it'll leave you Rainbow High.

I gave this show three stars for one reason: nothing can outshine Patti LuPone flawless performance as Eva Perón! Don't get me wrong Elena Rogers delivers a heartfelt Eva but lacks the suprerior belt power of Ms. LuPone.

Phillip Quast however is a brillant Juan Perón, basically anything with Mr. Quast in it is worth getting!!!

Matt Rawle brings a very new and young Ché to the plate.... maybe not quite vocally powerful as Mandy Patinkin. He's okay but needs some getting used to.

The new orchestrations and musical changes are different but I like the original much better....

If you're already an Evita Fan and really enjoy the original recording then I would reccamend this, but if you haven't yet heard Evita then I'd say start with the Orginal Recording with Patti LuPone and Mandy Patinkin first.

Despite what other reviews have said this is a cast recording of the 2006 revival on London's West End.