1 Requiem For Evita 4:16
2 Oh What A Circus
Vocals – Antonio Banderas, Madonna
5:44
3 On This Night Of A Thousand Stars
Vocals – Jimmy Nail
2:44
4 Eva And Magaldi / Eva Beware Of The City
Vocals – Antonio Banderas, Jimmy Nail, Julian Littman, Madonna
5:20
5 Buenos Aires
Vocals – Madonna
4:08
6 Another Suitcase In Another Hall
Vocals – Madonna
3:32
7 Goodnight And Thank You
Vocals – Antonio Banderas, Madonna
4:17
8 I'd Be Surprisingly Good For You
Vocals – Jonathan Pryce, Madonna
4:17
9 Peron's Latest Flame
Vocals – Antonio Banderas, Madonna
5:17
10 A New Argentina
Vocals – Antonio Banderas, Jonathan Pryce, Madonna
4:16
11 Don't Cry For Me Argentina
Vocals – Madonna
5:35
12 High Flying, Adored
Vocals – Antonio Banderas, Madonna
3:32
13 Rainbow High
Vocals – Madonna
2:27
14 And The Money Kept Rolling In (And Out)
Vocals – Antonio Banderas
3:47
15 She Is A Diamond
Vocals – Jonathan Pryce
1:40
16 Waltz For Eva And Che
Vocals – Antonio Banderas, Madonna
4:12
17 You Must Love Me
Vocals – Madonna
2:50
18 Eva's Final Broadcast
Vocals – Madonna
5:16
19 Lament
Vocals – Antonio Banderas, Madonna
4:11

Product Details

* Audio CD (July 29, 1997)
* Original Release Date: July 29, 1997
* Number of Discs: 1
* Format: Soundtrack
* Label: Warner Bros / Wea
* Catalog Number: 46692
* ASIN: B000002NHA
* Other Editions: Audio CD | Audio Cassette
* Average Customer Review: based on 143 reviews. (Write a review.)
* Amazon.com Sales Rank: #28,215 in Music (See Top Sellers in Music)
Yesterday: #31,803 in Music

Listen to Samples
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1. Requiem For Evita - Cast Listen Listen
2. Oh What A Circus Listen Listen
3. On This Night Of A Thousand Stars - Jimmy Nail Listen Listen
4. Eva And Magaldi/Eva Beware Of The City Listen Listen
5. Buenos Aires Listen Listen
6. Another Suitcase In Another Hall Listen
7. Goodnight And Thank You Listen
8. I'd Be Suprisingly Good For You Listen
9. Peron's Latest Flame Listen
10. A New Argentina Listen
11. Don't Cry For Me Argentina Listen
12. High Flying, Adored Listen
13. Rainbow High Listen
14. And The Money Kept Rolling In (And Out) - Antonio Banderas Listen
15. She Is A Diamond - Jonathan Pryce Listen
16. Waltz For Eva And Che Listen
17. You Must Love Me Listen
18. Eva's Final Broadcast Listen
19. Lament Listen

Editorial Reviews
Amazon.com
The songbook is familiar to a generation of theater-goers. Antonio Banderas is at least as good a singer as John Travolta was in Grease. And there are three star turns from the Material Girl--the celebrated "You Must Love Me," as well as "Don't Cry for Me, Argentina," and "Another Suitcase in Another Hall." --Jeff Bateman
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14 of 27 people found the following review helpful:
Evita-Lite, January 10, 2002
Reviewer: Gary F. Taylor "GFT" (Biloxi, MS USA) - See all my reviews
(REAL NAME) (TOP 100 REVIEWER)
In as much as this recording gives the listener a fairly good idea of the film's musical score, it does extremely well as a "highlights" recording. But like the film itself and the full soundtrack, it reveals the overall weakness of the project: the material has been extremely watered down from the vitriolic, incredibly powerful stage show and given a pop music spin, so it lacks the original's passionate fire.

Madonna is, I think, a singer and performer whose true talent has yet to be adequately explored, and this dumbed-down material gives her little opportunity to expand beyond her already established appeal. Perhaps the most annoying element of the recording, however, is the fact that Madonna's vocal range is simply not suited to the material at hand, which had to be rewritten for both vocal range and content. As a result, the film soundtrack (both in abbreviated and full length versions) lacks the exciting, strident, and powerful authority of the stage recording, with Patti LuPone's New York stage version the most notable case in point. And Banderas and Pryce are merely adequate.

Still, some of the tracks--"You Must Love Me," specifically created for Madonna's film performance, and which she performs quite well--hold up reasonably well out of context. But that may be exactly what is wrong with the entire project as a whole: it doesn't hang together in any artistic sense. This would not necessarily be a problem with a straight forward pop album, but since we're talking about a musical soundtrack here, we do have the right to expect at least that much.

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3 of 3 people found the following review helpful:
+1/2, Madonna at her most vocally-impressive, August 15, 2005
Reviewer: Robert Johnson (Richmond, KY USA) - See all my reviews
(REAL NAME)
With so many highlights, why does the soundtrack to Madonna's greatest screen performance always feel slightly disappointing after a listen? This a problem common with most of Andrew Lloyd Webber's work: many good individual songs that fail to make a cohesive show. Webber is a composer many theater enthusiasts (i.e. snobs) hate because he writes theater songs as if they were pop radio hits.

While he's no match for intellectual brilliance of Sondheim (though neither is any other modern composer), I personally love many of the songs Webber has composed - from "Memory" (from CATS) to "The Music of the Night" (from THE PHANTOM OF THE OPERA) as well as many others - however, I seldom like his plays when taken as whole. The same goes for EVITA: even though the album is full of great tracks, it really doesn't gel into a completely satisfying unit.

But that doesn't really matter in the end, because most listeners will be justifiably thrilled with Madonna's impressive vocal performance. Madonna gives the definite renditions of "Buenos Aires" (#3 Dance), "High Flying, Adored," "Another Suitcase In Another Hall," and "Rainbow High," however she sounds a little shaky on "Don't Cry For Me Argentina" (#8 Pop, #21 Adult Contemporary, #1 Dance). Maybe it was because "Argentina" is such a well-known number, but, for whatever reason, Madonna sounds nervous in her delivery.

This is forgivable, however, thanks to her other stunning song renditions, including the newly written, Gold-selling "You Must Love Me" (#18 Pop, #15 Adult Contemporary), which ranks as one of her best singles. The public supported Madonna's labor of love by sending the double-disc set to #2 on the Hot 200. Impressively, the album achieved Quintuple-Platinum status in sales, making it Madonna's most successful album of the nineties. It may not be the masterpiece it strived to be, but the EVITA soundtrack is one of Madonna's most impressive releases to date.

NOTE: Of special interest to fans are the two singles that Warner Bros. released to promote the Evita soundtrack, both of which featured alternate versions of both songs. The single version of "You Must Love Me" (#18 Pop, #15 Adult Contemporary) features the exact same vocal performance from the soundtrack, but is slightly remixed with a more "pop"-sounding arrangement, including a beautiful new string introduction (the soundtrack cut begins with Madonna singing a cappella). For the release of the soundtrack's best-known song, the now-standard "Don't Cry For Me Argentina" (#8 Pop, #21 Adult Contemporary, #1 Dance), Madonna and Warner Bros. surprised everyone (and outraged Weber purists) by releasing a drastically altered remix of the song, entitled the "Miami Mix." The "Miami Mix" of "Argentina" transforms the dramatic ballad into a campy dance club epic, and is further boosted by Madonna's rerecorded vocals on the chorus. I thought Madonna sounded somewhat nervous and quivery on the original ballad version of "Argentina," however, she sounds much more confident and impassioned on the "Miami Mix" remix of the song. Both of these alternate versions are responsible for getting the singles on the airwaves and landing the songs in the Top 20 on Billboard's Hot 200, and they also contributed to the Multi-Platinum sales and high chart position of the EVITA soundtrack. Although, ironically, neither remix was actually included on the soundtrack album that they promoted.

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Customer Reviews
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Not impressed, Madonna, December 28, 2005
Reviewer: X "Owen" (Tasmania, Australia) - See all my reviews
I have never seen the stage show, but a few months ago got the Original London Cast recording of it, with Elaine Paige and David Essex as Evita and Che. I loved it and listened to it non stop for about a month or more. Then I got the DVD of the Madonna Evita out and thought it was the dullest film I've ever seen, (but you can read the reveiws of the movie if you want to know about that) and Madonna didn't quite live up to Elaine Paige. Her voice is not quite as rich and beautiful as Paige's, and Madonna seemed to make everything so...'pop'y. For example 'Buenos Aires'. I loved Paige's version of that, but Madonna turned it into an awful, tacky, Latin-American pop song.
The material is great, but not the artists. I'm not sure about the Broadway recording, but I would recomend that people buy the London cast, rather that this one.

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1 of 2 people found the following review helpful:
Madonna singing ALW?, November 20, 2005
Reviewer: Stefan G. Hayes "Stefan Hayes" (KY USA) - See all my reviews
(REAL NAME)
Madonna pulls this off. Simply put, her vocals reach to the ear with love. She's not Sara Brightman, alas, Sara Brightman is not Madonna. Julie Covington this isn't either. Madonna pulls the listner in with her vocal character. Her voice is niether boring nor grating as some of the opera "ranged" ladies can. Nevermind if you're a fan or Madonna, this music is great for the pop/rock and the classical ear. Madonna is a recording artist, it's not fair to judge her against the live show. So don't judge her, just like her. It's not hard to love Madonna when she sits at the table with Webber and Rice.