The gamecock. (Columbia, S.C.) 1908-2006, March 02, 1981, Page Page 10, Image 10
'Evito
as we
By Robert Brazell
Staff Writer
There aren't many people
now who haven't heard the
name Evita, largely due to
the fact that there is
currently a very successful
Broadway show that goes by
that same name. The second
collaborative effort of Andrew
Lloyd Webber and Tim
Rice (the first was "Jesus
Christ Superstar" in 1970),
"Evita" was released as an
album in 1976 and was
staged in England two years
later.
After an admirable success
there it hit the
American stages in a series
of successful runs which
culminated last year in the
winning of seven Tony
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winning of a Grammy. With
all of this positive reaction to
"Evita" the premiere
American recording must be
viewed as an important one
since it gives everyone a
chance to hear this fine
work.
"EVITA" IS THE story of
Maria Eva Duarte, who rose
from complete obscurity to
become the wife of Colonel
Juan Peron and, subsequently,
the first lady of
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unusual subject matter for
an opera, but it is no
exaggeration to say that Eva
Peron was one of the most
controversial women of this
century.
The intrigue lies in the fact
that there are two extremely
different evaluations of her
life. According to one view
she was a saint and a
defender of the poor, without
whom Peron could never
have been elected. According
to another view she
was a shrewd call girl who
was lucky enough to become
the mistress of Argentina's
future president. In all
likelihood, both sources are
partly right but, due to the
political turmoil of the
times, were distorted.
The opera deals with the
facts and speculations of
Evita's life with accuracy
and objectivity. There are
only about five major roles
with the plot revolving
primarily around Evita
(Patti Lupone) Colonel
Peron (Bob Gunton) and a
young revolutionary named
Che (Mandy Patinkin). The
character Che is based on
the legendary Che Guevara
who grew up in Argentina
and was opposed to the
Peronistas. Che is the
narrator of the story,
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suiuciuuca KtAiug pui i in nit;
action and sometimes
merely aiding in the transition
from one scene to the
next. In many ways he is
similar to Judas Iscariot in
"Jesus Christ Superstar" for
he is the constant critic of
Eva just as Judas is the
critic of Jesus.
"EVITA" IS ALSO similar
to "Superstar" in its basic
theme; Webber and Rice
attempt in both cases to cut
through the myth of an
historical figure and reveal
an accurate picture of the
individual's personality.
This formula works even
better in "Evita" than it did
in "Superstar" and reveals a
woman who can be both
despised for her ruthlessness
and admired for her ability
to survive.
Musically speaking,
"Evita" sparkles. It opens in
a rather novel way: there is
fa gloi
Mas a
(
SLM 1
no overture. Instead the
curtain rises on the scene of
a theater in Buenos Aires
where the film is interrupted
by the announcement of
Evita's death. The first
music in the opera is a
beautifully somber requiem
being sung at Eva's funeral
(Eva Peron died of cancer at
the age of thirty-three). Che
enters and the music shifts
to an energetic drive that
sets the pace for the rest of
the show. Che's solo here is
one of the best scenes in the
entire opera.
Che proceeds to tell
Evita's story from her
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beginnings in provincial
Argentina to her death. The
cyclic form of the story and
its inherent perfection
should be obvious. In ad~
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the music used to tell the
story is composed of a wide
variety of themes skillfully
intertwined. Some fans of
"Superstar" may not be as
satisfied with "Evita" as it
is not as heavily laced with
rock. There are, however,
some very lovely songs that
should appeal to almost
anyone including, "Another
Suitcase in Another Hall"
and the exquisite aria,
ift drink
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"Father...I have reveal
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15:11)
Willie Flores is tin
guest speaker. Willie tfi
school at the University
have an effec t on all our
xlhum
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"Don't Cry For Me
Argentina". Some of these
songs were hit singles in
Europe but "Evita" seems
to have been wrongfully
negiected in this country by
the record buying public.
THERE ARE flaws with
the opera as well as with this
recording. As for the
recording, there seem to be
some balance problems. The
choral and orchestral tracks
aren't very loud while the
soloists tend to blare out. On
a more basic level the opera
seems a bit too short.
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Each 3 to 6 hours c
I Call Amei
In a world of uncertainty
let us look to...
THES<
dates: March 9th and 10tt
time: 8:00 p.m. - 9:00 p.m
place: Rutledge Chapel
(on the horseshoe)
speaker: Willie Flores
snday - The He
ed you to them, and will contlni
jy be theirs and that / myself ma
iy - The Hope <
> that my Joy may Ih> In yon and
; campus minister for the Belnio
ew up In New York City and Mi;
of Florida. Willie is a powerful an
lives - Please come and Join us.
EVERYONE
-
THE ROLLS OF Rf
WE'VE GOT THE TOP OF T
ALL THE EXTRAS, AT THE
OUR EXTRAS INCLUDE:
Spotless Legal and Letter
Copies Reductions Coi
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Signic
am
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Pres<
1981 Deri
Monday, March 2:
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(Sigma Chi lounge)
Tuesday, March 3:
Derby snatch begins
Skits at Casey Home
Decorated Derby contest
(Sigma Chi lounge)
Wednesday, March 4:
Derby snatch
Field events
(Field A)
Easy s Derby Night!!
Thursday, March 5:
Derby snatch
Band party featuring
The Original Drifters (Blu
Crowning of Derby Darlln<
Drawing for Hilton Head v
* Events Op
Wmmmmmmmmmmmmmmmmmmmmaammmmmmm
J European T
tig May 14 ~ A
Tedit
lean Internation
254-5687
JESUS:
3URCE OI
sponsoi
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carripue
>pe of Real Lc
le to make you known tn orde
y be In them." (John 17:20)
)f Lasting Jo;
that your Joy may be complei
nt Church of Christ In Pueblo,
ami. He became a Christian In
id dynamic speaker - the things
IS INVITED
i N
EPRODUCTION
^L^jt
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