Die Another Day (Liner notes). David Arnold. Warner Bros. Records. 2002. 48348-2. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) Lo Que Siente La Mujer" is the Spanish version of " What It Feels Like for a Girl", recorded and added in the Latin American version of Music. Hey You" was written for the Live Earth concerts and was released digitally as a free single. It was later included on the Live Earth digital album and CD. [44]

Weintraub Entertainment and RSO reached a pact". Los Angeles Times. March 27, 1987. Archived from the original on March 6, 2016 . Retrieved October 7, 2016. Christon, Lawrence. "Five Years Later, Lacey Ponders Life After 'Evita'" Los Angeles Times, 8 May 1986Shortly after the musical appeared, Nicholas Fraser and Marysa Navarro published a more neutral account of Eva Perón's life, Evita: The Real Lives of Eva Perón, in which they claim that many of the assertions in the biography The Woman with the Whip (which had influenced Rice's lyrics) were false, such as the suggestion that Eva had first gone to Buenos Aires as the mistress of a married musician, Agustín Magaldi. Instead, they wrote, Eva's mother Doña Juana had taken her there when she aspired to become a radio actress. Some critics also suggested that Rice's lyrics disparaged Evita's achievements unnecessarily, particularly her charity work. According to Navarro and Fraser, a b Vision Quest (Liner notes). Various Artists. Santa Monica, California: Geffen Records. 1985. M5G 24063 E. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) Sooner or Later" is officially titled "Sooner or Later (I Always Get My Man)" in the film credits and Academy Awards. [69] [70] Harrison, Bernice (December 20, 1996). " 'Evita' stars appear on a 20-foot screen". The Irish Times. Archived from the original on October 9, 2016 . Retrieved October 7, 2016. a b Trust, Gary (December 12, 2016). "Ask Billboard: Madonna's Career Album Sales". Billboard . Retrieved December 12, 2016.

A tour, announced after the success of the Broadway production of the show, which was produced by Bill Kenwright. It opened on 15 May 2013 at the New Wimbledon Theatre, before dates at the Glasgow Kings Theatre, Theatre Royal Norwich, and the Wolverhampton Grand. The production starred Marti Pellow, the lead singer of the band Wet Wet Wet, as Che, Andrew C Wadsworth as Juan Perón, and Madalena Alberto as Eva Perón. The tour concluded with 55 performances at the Dominion Theatre in the West End in September and October 2014. [63] [64] This production was directed by Bob Thompson, with choreography by Bill Deamer, and musical direction by David Steadman. Cross, Mary (2007). "7. Reinvention". Madonna: A Biography. Greenwood Publishing Group. ISBN 978-0-313-33811-3.Madonna met with Stone and Lloyd Webber in New York to discuss the role. Plans fell through after she requested script approval and told Lloyd Webber that she wanted to rewrite the score. [13] Stone then approached Meryl Streep for the lead role and worked closely with her, Rice and Lloyd Webber at a New York City recording studio to do preliminary dubbings of the score. Stigwood said of Streep's musical performance: "She learned the entire score in a week. Not only can she sing, but she's sensational– absolutely staggering." [9] Metz, Allen; Benson, Carol (1999). The Madonna Companion: Two Decades of Commentary. Music Sales Group. ISBN 0-8256-7194-9. a b c d e f g h i j k l m Hard Candy (Liner notes). Madonna. Warner Bros. Records. 2008. 9362-49884-9. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) A revival of the original production (as directed by Hal Prince and choreographed by Larry Fuller) toured South Africa, Japan, Singapore, Taiwan, and Hong Kong, featuring a cast from South Africa and led by Emma Kingston from the UK in the title role.

a b Cerio, Gregory (February 26, 1996). "Don't Yell at Me, Argentina". People. Archived from the original on October 10, 2016 . Retrieved October 10, 2016. Evita subtitles". subtitles.o2.cz. Archived from the original on 5 June 2010 . Retrieved 16 May 2020. However, Lloyd Webber was still wary about Madonna's singing, so after securing the role, she undertook 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. [6] [7] Lader noted that the singer "had to use her voice in a way she's never used it before. Evita is real musical theater— it's operatic, in a sense. Madonna developed an upper register that she didn't know she had." [8] [9] She taught Madonna how to sing using her diaphragm rather than just her throat, enabling her to project her voice in a more cohesive manner. 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. [6]a b "Evita (1996)– Daily Box Office Results". Box Office Mojo. Archived from the original on March 17, 2016 . Retrieved October 7, 2016. Star from 'Evita' to leave". The Canberra Times. Vol.55, no.16, 659. Australian Capital Territory, Australia. 7 May 1981. p.3 . Retrieved 24 September 2017– via National Library of Australia. a b c d Ciccone, Madonna (November 1996). "The Madonna Diaries". Vanity Fair. pp.174–188. ASIN B001BVYGJS. ISSN 0733-8899. It was the film role she fought ferociously hard to secure, and the performance on which the whole project hung, but Madonna’s recording of Don’t Cry For Me Argentina, for the 1996 adaptation of Evita, proved the triumphant centrepiece it had to be, undoubtedly helping the “Queen Of Pop” secure a much coveted Golden Globe for Best Actress – Motion Picture – Musical Or Comedy. Listen to the best of Madonna here. Webb originally played the role during Paige's holiday and was persuaded by Prince to remain in the cast as an alternate for two shows each week to aid the transition when she took over the role. This set the precedent until the show closed, with Lawrence becoming Webb's alternate. Michele Breeze, Paige's original understudy never inherited the role in London but later created it for the original New Zealand production. Susannah Fellows also understudied Eva.