Evita is the third soundtrack album by American singer Madonna. It was released on November 12,A New Argentina - Various - Evita - Music From The Motion Picture Warner Bros. Records to promote the American musical drama filmEvita. Additional performers on Evita include Antonio BanderasJonathan Pryce and Jimmy Nailbut it is considered a Madonna album since she sang majority of the songs. Director Kim Richey - Rise Parker worked with Rice and Lloyd Webber to compose the soundtrack, reworking the original songs as well as write a new song, " You Must Love Me ", for the film.
The actors were tense during the recording sessions for Evitasince they were from a non-musical background.
The musical style for Evita differed from Madonna's previous works and she was not comfortable in recording her vocals inside the Magnolia - J.J.
Cale - J. J. Cale alongside the orchestra. After an emergency meeting with the principal personnel, it was decided she would record in a separate location. It took almost four months for the soundtrack to be finished. Rice and Lloyd Webber had employed the classical technique while creating the music, taking the central theme, " Don't Cry for Me Argentina ", and tweaking it to cater to a variety of settings.
The soundtrack was released in two different versions. A two-disc edition which featured all the tracks from the film, and a single-disc edition contained a selection of song highlights. Critical reception towards the soundtrack was mixed, with AllMusic 's Stephen Thomas Erlewine calling it "unengaging"  while Hartford Courant ' s Greg Morago praised Madonna's singing abilities. For a long time, Madonna had desired to play Eva and even wrote a letter to director Alan Parkerexplaining how she would be perfect for the A New Argentina - Various - Evita - Music From The Motion Picture.
Rice believed that the singer would suit in the title role since she could "act beautifully through music". However Lloyd Webber was still wary about Madonna's singing, so after securing the role, she underwent vocal training with coach Joan Lader. Since Evita required the actors to sing their own parts, the training helped in increasing Madonna's confidence in the songs. Madonna developed an upper register that she didn't know she had.
Madonna was thrilled to find the newly discovered nuances in her voice and would go home every night, practicing by telephoning her friends and singing to them.
Parker finished writing the script for the film by May He then visited Lloyd Webber's home in France, and tried to bring him and Rice together for working on the film; the duo had not worked with each other for years after the musical Cricket While drafting the script, Parker had re-written the last act, removing the repetitive content of the original play.
He pondered over the script and the music, expecting any questions that the actors would have for later. However, Lloyd Webber was critical of the recording arrangements done in the studio. Flick noted that Banderas found the experience "scary" while Madonna was "petrified" when it came to recording the songs.
I was a complete mess and was sobbing afterwards. I thought I had done a terrible job", the singer recalled. All of us came from very different worlds—from popular music, from movies, and from musical theater—and so we were very apprehensive". According to producer Nigel Wrightthe lead actors would first sing the numbers backed by a band and orchestra, "then they would go off with Alan and David in a more intimate recording environment and perfect their vocals". Also, unlike her previous soundtrack releases, she had little to no control over the project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't To work on 46 songs with everyone involved and not have a big say was a big adjustment", she recalled.
Little Boogie - Various - Deutsche Tanzorchester Heizen Ein! emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part at Whitfield Street, a contemporary studio, while the orchestration would take place somewhere else.
She also had alternate days off from the recording to save and strengthen her voice. Recalling in his The Making of Evita essay:. Finally, while I was visiting Andrew at his country estate in Berkshire to play him the tracks we had recorded, he suddenly sat down at the piano and played the most beautiful melody, which he suggested could be our new song. Needless to say, I grabbed it.
However, we still needed lyrics and Tim dutifully began to put words to the music. The vast majority of the original Evita score had been done this way: music first, lyrics afterwards. After many weeks of nail biting, Tim was finally cajoled into writing the lyrics that now accompany the music to "You Must Love Me".
Madonna's vocals are featured on 15 of the 19 tracks present in the soundtrack. Other principal vocalists include Banderas, Pryce and Jimmy Nail. Rikky Rooksby noted in A New Argentina - Various - Evita - Music From The Motion Picture Complete Guide to the Music of Madonna that Evita was stylistically different than the music Madonna had recorded previously. The soundtrack was her most challenging endeavor since the Stephen Sondheim songs recorded for the film, Dick Tracy.
Rice and Lloyd Webber employed the classical technique while creating the music, where a composer takes a central theme and adapts it A New Argentina - Various - Evita - Music From The Motion Picture a variety of settings, keys and tempos.
Following this " Oh What a Circus " begins, where Banderas takes the lead vocals. The sound of train horns, Latin percussion, drums, and light guitars introduce "Buenos Aires", talking about Eva finally arriving in the city.
The melody finds Madonna singing in a higher range, and the song has a heavy composition in Matthew And Son - Cat Stevens - Cats Cradle middle with guitar, trumpets and discordant music.
Madonna sings about Eva moving from one home to another, portraying an image—the suitcase in the hall—"to express the nomadic nature of modern civilization". In the middle of a male backing chorus, Madonna sings her lines, accompanied by stereo tom-tom drum and synth sounds.
Composed as an "uprising hymn", Rooksby noted that Madonna's vocals sounded "aggressive and growling". The second disc begins with "Don't Cry for Me Argentina", whose lyrics are described as a "string of meaningless platitudes" by Rice, adding that it worked as a speech by a "megalomaniac woman" like Eva, trying to win the favor of the people of Argentina. With "Waltz for Eva and Che", the soundtrack's atmosphere becomes tense, as Banderas and Madonna sing on top of bass and timpani.
The bittersweet song "You Must Love Me" starts with the sound of orchestra and piano. Lyrically it talks about Eva's discovery that her husband Juan had actually loved her all along and not merely seen her as a political prop. A New Argentina - Various - Evita - Music From The Motion Picture proceeds in the same way and gradually fades out. Accompanied by classical guitar and harp, Banderas also sings over Eva's grave, and the track gradually fades out as an anti-climax.
The soundtrack was released in the United States on November 12,almost two weeks before the release of the film. We are getting more inquiries about this record than anything else right now," Devin explained to Billboard ' s Larry Flick. Evita consisted of two formats, a two-disc edition titled The Complete Motion Picture Music Soundtrackcontaining all the tracks used on the film, and a single-disc edition, Music from the Motion Picturewhich contained only a selection of highlights.
International release strategy of the soundtrack was similar to that of the United States, with November 25 as the date, and the single-disc edition planned for release later in December.
It was written specifically for the film with the hopes of obtaining an Academy Award nomination for Best Original Song. A separate version called the "Miami Mix", which included re-recorded vocals in English and Spanish and an Argentinean bandoneon Burning - Jay Haze - Fabric 47 the song's intro, was promoted to radio.
Warner Bros. Flores and Garza kept the Latin composition of the track, while "flattening" the groove to make it suitable for playing in dance floors. They also added a live percussion and keyboard lines to the remix. Larry Flick from Billboard commented that "Buenos Aires" displayed Madonna's "increased comfort and dexterity as a stylist".
Evita has received generally mixed reviews from music critics. Randy Taraborrelli, author of Madonna: An Intimate Biography felt that Madonna's singing sounded "supple and strong", and believed her to be not "at all out of place". While some B_SIDE/ arrrrp - Jason Wright - Just Between Us the numbers have lost their sharp edge 'A New Argentina' lacks requisite angerthe recording benefits from its concentration on the characters' voices.
In her review of EvitaJanet Maslin from The New York Times complimented Madonna's ability to emote the songs calling them "legitimately stellar and full of fire". Meyer, from The Herald Journalfelt that "there's a little something for everyone in Evita.
It's a pop-culture clash that is sometimes quite annoying especially in Rice's left-field rhymes but still works like a charm". Evita marked the start of Madonna's Serious Phase, one where she balanced youthful coquettish-ness with a more mature, introspective outlook". To put it simply, the Material Girl can sing. In many ways, she does more with less than her predecessor".
AllMusic 's Stephen Thomas Erlewine gave a mixed review calling the soundtrack "unengaging". He theorized that it was due to Madonna's performance. Erlewine commended Madonna's singing but deduced that her vocals made the songs sound like she was "trying really hard to be credible, which makes it difficult to connect with her".
But Roca believed that the Latin influences present in the original songs were missing, due to John Mauceri's "languid conducting of the soundtrack, and most of all by Vincent Paterson's choreography". With her thin voice, she peeps out a series of mournful sounds that are painful to endure". Considinewho felt the soundtrack would disappoint the singer's fans "because Evita just isn't pop music—or, at least, not the kind of pop music Madonna usually makes on her own As a result, slogging through Evita is like listening to an opera written by someone who never got beyond learning how to write recitativo ".
In the United States, Evita debuted at number six on the Billboard chart for the issue dated November 30, It was the first entry on the chart for a "broadway musical transitioned into film soundtrack" since Grease: The Original Soundtrack from the Motion Picture in Within five weeks it crept back into the top-ten of the Billboard and for the issue dated February 8,reached a peak of number two on the chart.
Sales increased by Evita was present for a total of 30 weeks on the Billboardand ranked at number 26 on the year-end chart. After fluctuating down the charts for the next few weeks, it climbed into the top-ten in Marchand peaked at number five.
Evita debuted at number seven on the UK Albums Chart and ended up reaching the top of the charts in Allegro Vivace - Mendelssohn* - Concertgebouw-Orchester Amsterdam*, Bernard Haitink, George Szell -becoming Madonna's fifth number one album in the country.
It was present on the chart for a total of 44 weeks and ranked at number 23 on the year-end chart. Credits and personnel adapted from the 2-CD edition of the soundtrack's liner notes. From Wikipedia, the free encyclopedia. She had the lion's share of the piece, singing as she does on almost every track. Many of the songs were comfortably within her range, but much of the score was in a range where her voice had never ventured before.
Also, she was determined to sing the score as it was written and not to cheat in any way". Antonio Banderas and Jonathan Pryce A New Argentina - Various - Evita - Music From The Motion Picture the other principal vocalists on the soundtrack, besides Madonna. A 17 second clip of "You Must Love Me", with Madonna singing the chorus over the restrained piano sounds. Antonio Banderas Madonna. Madonna Andrea Corr Jonathan Pryce.
BluEye - Critical Distance, Cigarette Off The Balcony - Chris Burroughs - Loose, Allegro (Aus Divertimento Nr. 1 Es-Dur) - Grassauer Blechbläser Ensemble - Meisterstücke, In My Mind (Extended Version) - Antiloop - In My Mind, The Beat Goes On - Kai Warner Singers Y Su Orquesta* - Juntos Y Alegres