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Evita, take 3
I'm currently listening to Evita, the 2006 London Cast Recording. A being I'd never heard of, actually, until it showed up for cataloging. It's probably my familiarity with the original recording, but I'm only three tracks in and already feel a need to complain.
Now, I am ready and willing to admit that Mandy Patinkin got a bit excessive, vocally. But in 1979, he was pretty much untrained and I love his performance as Che. He's just the right amount of angry and energetic. This guy, Matt Rawle (who according to his website has been in all three Boublil & Schonberg shows) enunciates way too much. Though listening to the rest of it, that seems epidemic. Come to think of it, modern (as in, the past fifteen years or so) musical theater has over-enunciated everything to death. In my opinion. I love words, I love lyrics, but I never had trouble understanding them before; I hate hearing everything bitten off. I've noticed this live, too, which maybe makes more sense but on a record it shouldn't be necessary to spit every syllable out.
I haven't gotten to the big torch numbers, but I do like that this Eva (Elena Roger) is an Argentinian import; even though it gives her an accent no one else in the production has.
Also, according to the liner notes, "Andrew Lloyd Webber has given the orchestrations a more authentic Argentinean flavour." Which might very well be, but the first difference I've noticed is some really wanky, 80's style electric guitars. Couple that with their presence in the movie version of Phantom, I think ALW is stuck in the past as regards guitar advances.
Has anyone else listened to this? Any thoughts?
Now, I am ready and willing to admit that Mandy Patinkin got a bit excessive, vocally. But in 1979, he was pretty much untrained and I love his performance as Che. He's just the right amount of angry and energetic. This guy, Matt Rawle (who according to his website has been in all three Boublil & Schonberg shows) enunciates way too much. Though listening to the rest of it, that seems epidemic. Come to think of it, modern (as in, the past fifteen years or so) musical theater has over-enunciated everything to death. In my opinion. I love words, I love lyrics, but I never had trouble understanding them before; I hate hearing everything bitten off. I've noticed this live, too, which maybe makes more sense but on a record it shouldn't be necessary to spit every syllable out.
I haven't gotten to the big torch numbers, but I do like that this Eva (Elena Roger) is an Argentinian import; even though it gives her an accent no one else in the production has.
Also, according to the liner notes, "Andrew Lloyd Webber has given the orchestrations a more authentic Argentinean flavour." Which might very well be, but the first difference I've noticed is some really wanky, 80's style electric guitars. Couple that with their presence in the movie version of Phantom, I think ALW is stuck in the past as regards guitar advances.
Has anyone else listened to this? Any thoughts?
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Even though I got the movie recording first, I always thought David Essex in the original was better... then again he was dreamy in those days (those days being 5 years before I was born :p)
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Hehe, see, in my mind "original" is the American one. Silly me. I've never heard the Essex.
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must check that out.
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It made me irrationally angry this morning.
Yep........
PS--Best Evita album is original cast with Colm Wilkinson as Che. Good stuff:)
Re: Yep........
guess we'll have to agree to disagree then.......
Re: guess we'll have to agree to disagree then.......
:)
Re: Yep........
Re: Yep........