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Evita (Music from the Motion Picture)


Download links and information about Evita (Music from the Motion Picture) by Madonna. This album was released in 1996 and it belongs to Dancefloor, Pop, Dance Pop, Theatre/Soundtrack genres. It contains 19 tracks with total duration of 01:18:14 minutes.

Artist: Madonna
Release date: 1996
Genre: Dancefloor, Pop, Dance Pop, Theatre/Soundtrack
Tracks: 19
Duration: 01:18:14
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No. Title Length
1. Requiem for Evita (featuring Evita Soundtrack) 4:16
2. Oh What a Circus (featuring Unknown) 5:44
3. On This Night of a Thousand Stars (featuring Jimmy Nail) 2:24
4. Eva and Magaldi / Eva Beware of the City (featuring Unknown) 5:20
5. Buenos Aires 4:09
6. Another Suitcase In Another Hall 3:33
7. Goodnight and Thank You (featuring Unknown) 4:18
8. I'd Be Surprisingly Good for You (featuring Unknown) 4:18
9. Peron's Latest Flame (featuring Unknown) 5:17
10. A New Argentina (featuring Unknown) 4:16
11. Don't Cry for Me Argentina 5:35
12. High Flying, Adored (featuring Unknown) 3:32
13. Rainbow High 2:26
14. And the Money Kept Rolling In (And Out) (featuring Antonio Banderas) 3:53
15. She Is a Diamond (featuring Jonathan Pryce) 1:39
16. Waltz for Eva and Che (featuring Unknown) 4:12
17. You Must Love Me 2:50
18. Eva's Final Broadcast 5:16
19. Lament (featuring Unknown) 5:16



A woman of modest origins who used her talent and relentless ambition to reinvent herself as revered national figure and pop cultural icon, Argentina’s Eva Peron seems the woman Madonna was born to play. Director Alan Parker’s belated 1996 film adaptation of the Webber/Rice ‘80s stage triumph yields a strong, remarkably mature performance from Madonna. This 19-track collection is quite literally the film’s soundtrack, an elaborately executed, neo-operatic recording where Madonna challenged herself by infusing her vocal performances with a sense of dramatic accomplishment that can’t be denied. (“Don’t Cry for Me Argentina is, of course, the album’s monster hit.) Yet despite the inclusion of “You Must Love Me,” a strong new ballad written especially to augment the film, there remains a nagging sense that overall it’s a performance preserved like a butterfly under glass. Perhaps that’s due to the absence of Parker’s riveting visuals, or simply because it often seems like a project a decade removed from its theatrical inspiration.