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99-544: The Israel Philharmonic Orchestra was founded as the Palestine Symphony Orchestra by violinist Bronisław Huberman in 1936, at a time of the dismissal of many Jewish musicians from European orchestras. Its inaugural concert took place in Tel Aviv on December 26, 1936, conducted by Arturo Toscanini . Its first principal conductor was William Steinberg . Its general manager between 1938 and 1945

198-532: A Circus " from the same show and lyrically consists of platitudes where Eva tries to win the favour of the people of Argentina. It was released in the United Kingdom on 12 November 1976 as the first single from the album, accompanied by national and trade advertising, full-colour posters, display sleeves as well as radio interviews. The song reached number one on the UK Singles Chart and earned

297-629: A Hebrew rendition of " Don't Cry for Me, Argentina " from Evita , in which Maimon starred in 2015. In 1958, the IPO was awarded the Israel Prize , in music, the first time that an organisation received the Prize. The orchestra's performance in London at The Proms on September 1, 2011 was disrupted by pro-Palestinian protesters. The radio broadcast was interrupted, but the concert was broadcast again

396-480: A London theatre, Covington—who had become disenchanted with the whole project—refused to reprise the part of Eva, and the role went to Elaine Paige . "Don't Cry for Me Argentina" has been covered by multiple artists, including David Essex , The Carpenters , Olivia Newton-John , and Sinéad O'Connor as well as actors Lea Michele and Chris Colfer from the TV series Glee‍ . In 1996, American singer Madonna played

495-621: A deal with MCA Records , to release an album based on the songs , however with extremely poor royalty rates since the record company executives did not expect the album to be a success. In the meantime, singers for all the other roles of the musical were also signed, and the cast moved to Olympic Studios in 1975 to start recording. Personnel working on the Evita album included recording engineer David Hamilton-Smith, Simon Philips on drums, Mo Foster on bass, Joe Moretti and Ray Russell on guitars and Anne Odell on keyboards. David Snell played

594-560: A deathbed confession to his wife, Marcelle Hall, that he had stolen the violin. Two years later, she returned it to Lloyd's and collected a finder's fee of $ 263,000. The instrument underwent a 9-month restoration by J & A Beare Ltd., in London. In 1988, Lloyd's sold it for $ 1.2 million to British violinist Norbert Brainin . In October 2001, the American violinist Joshua Bell purchased it for just under $ 4,000,000. The instrument, which

693-635: A few days later. The orchestra's secretary-general Avi Shoshani declared to London's The Times newspaper that the orchestra was unlikely to ever perform in the UK again. Nobody was prosecuted for the disruptions, partly because the management of the Royal Albert Hall , where the concert took place, declined to cooperate with a group of Israel-supporting lawyers. American Friends of the Israel Philharmonic Orchestra (AFIPO)

792-604: A gold certification from the British Phonographic Industry (BPI), with over a million copies sold. It also reached the top of the charts in Australia, Belgium, Ireland, New Zealand and the Netherlands. "Don't Cry for Me Argentina" was critically appreciated, with Rice and Lloyd Webber winning the 1977 Ivor Novello award in the category of Best Song Musically and Lyrically . When Evita moved to

891-450: A letter to director Alan Parker , explaining how she would be perfect for the part. After securing the role, she underwent vocal training with coach Joan Lader since Evita required the actors to sing their own parts. 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." From

990-517: A lifetime friendship. In 1894 Adelina Patti invited Huberman to participate in her farewell gala in London, which he did, and in the following year he actually eclipsed her in appearances in Vienna . In 1896 he performed the violin concerto of Johannes Brahms in the presence of the composer, who was stunned by the quality of his playing. He married the German actress Elza Galafrés (also described as

1089-482: A number of actors portraying Eva Peron in subsequent productions of Evita including Elaine Paige (1978 Original London Cast Recording), Patti LuPone (1979 Original Broadway Cast Recording) and Elena Roger (2006 London Cast and 2014 Broadway Cast Recordings). Marti Webb , who succeeded Elaine Paige in the original London production of Evita , covered the song on her album Won't Change Places , produced by Andrew Lloyd Webber in 1981, and also included it in 1995 on

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1188-569: A pounding beat and lively tango that flourishes with Madonna’s earnest delivery". Similarly, Medium 's Richard LaBeau deemed the remix "bizarre in theory but works terrifically in execution". In the United States, the popularity of the "Miami Mix" version of the song enabled it to become the song with the most radio adds, and jumped to number 18 on the Hot 100 Airplay chart. Demand for the song continued to increase forcing Warner Bros. to release

1287-474: A singer and ballerina). They had a son, Johannes, but the marriage did not last. She later met the Hungarian composer and pianist Ernő Dohnányi , but neither Huberman nor Dohnányi's then wife would consent to divorce. Elza and Dohnányi nevertheless had a child out of wedlock in 1917, and in 1919, after Huberman had granted her a divorce, she married Dohnányi, who then adopted Huberman's son Johannes. In

1386-540: A tear or two; he is relegated...to the status of a 'walker,' a presentable man who adorns the arm of a rich and powerful woman as a human fashion accessory." The song's lyrics are a "string of meaningless platitudes" according to Rice, who felt that it worked as an emotionally intense but empty speech by a "megalomaniac woman" trying to win the favor of the Argentines. It features the lyrics "And as for fortune, and as for fame / I never invited them in / Though it seemed to

1485-421: A terrible job", she recalled. The final version recorded had many similarities to the original version by Covington, although it had a much faster pace and was created as an orchestral pop to cater to the contemporary music scene. According to the sheet music published by Musicnotes.com, Madonna's version of the song is set in common time , with a slow groove tempo of 90 beats per minute . Madonna's vocals on

1584-417: Is a sentimental ballad and because of its lyrics. As the delivery date of the recording approached, they got more tense since most of the album was put together. Only this song was left as they could not decide on the final title, and Rice tried out names which did not make sense within the political and dramatic atmosphere of the story. They had initially tried out various lyrics as the main hook and title of

1683-552: Is a non-profit organization dedicated to sustaining the financial future of the Israel Philharmonic. Necessitated by the lack of substantial Israeli government subsidy or endowment for the Israel Philharmonic Orchestra, AFIPO's purpose was crystallized in 1980 through the joint vision of Fredric R. Mann and Zubin Mehta , who created an endowment fund in the United States to ensure the IPO's future. AFIPO seeks to broaden

1782-421: Is a song recorded by Julie Covington for the 1976 concept album Evita , later included in the 1978 musical of the same name . The song was written and composed by Andrew Lloyd Webber and Tim Rice while they were researching the life of Argentine leader Eva Perón . It appears at the opening of the first and second acts, as well as near the end of the show, initially as the spirit of the dead Eva exhorting

1881-499: Is being done was to accommodate Top 40 radio [...] since we have a two-disc soundtrack, we're interested in selling albums, not singles". Warner Bros wanted to create buzz for the film with the song, not the single remix. There were also talks of releasing an Evita EP , containing remixes of "Buenos Aires", "Don't Cry for Me Argentina" and " Another Suitcase in Another Hall ", but it never materialized. Recording sessions for

1980-402: Is composed in the key of D♭ major with Covington's vocals spanning from the nodes of G ♯ 3 to C ♯ 5 . According to Snelson the song is not only based on J.S.Bach's Prelude in C Major but also on Gounod 's Ave Maria adaptation. " Evita was always intended to be a stage show. And 'Don't Cry for Me Argentina' was very specifically written to be a key moment in

2079-494: Is look at me to know / That every word is true" is sung, the London Philharmonic Orchestra comes into play with a huge climax and ends. According to the sheet music published by Music Sales Group , the song starts with a sequence of G/D–A 7 /D–D–Bm/D, changes to E–E/D–A/C ♯ –E 7 –A–D, with the chorus featuring a chord progression of A–Bm–Dmaj 7 –Gmaj 7 –G–F ♯ m 7 . The song

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2178-829: Is now known as the Gibson-Huberman, was the focus of the 2012 documentary The Return of the Violin by the Israeli television director Haim Hecht which featured interviews with musicians such as Joshua Bell, Zubin Mehta, Holocaust -survivor Sigmund Rolat and many other musicians. The town of Częstochowa renamed its orchestra as the Bronislaw Huberman Philharmonic in honor of its native violinist. Huberman made several commercial recordings of large-scale works, among which are: Don%27t Cry for Me Argentina " Don't Cry for Me Argentina "

2277-508: Is supple and strong, and doesn't sound at all out of place". The song was nominated for an inclusion in AFI's 100 Years...100 Songs . AllMusic 's Jose F. Promis praised the "Miami Mix" version of the song; "['Don't Cry For Me Argentina'] was transformed into a passionate, flowing dance number", highlighting Madonna's "truly impassioned performance which infuriated musical purists but delighted her fans and public alike". In 2017, Billboard ranked

2376-660: Is we will defeat you / We'll sink your carrier, with our Sea Harrier / And with our Sea Kings subs'll be sinking". At the same time the Covington recording was banned from play on the BBC . In the Philippines, the presentation of the musical was repressed during the dictatorship (1972–86) of President Ferdinand Marcos , due to the perceived similarities between the First Lady Imelda Marcos and Eva Perón. In

2475-537: The ARIA Singles Chart , staying on this position for one week and a total of 13 weeks on the chart. On the year-end ARIA charts, the song ranked at number 56. In France, it topped the SNEP Singles Chart for one month. In Ireland, the song peaked at number 8, the week of 19 December 1996. The single also proved to be a commercial success in other countries such as Belgium, Germany, Spain and

2574-774: The Carpool Karaoke segment of The Late Late Show with James Corden . Seven years later, on the Celebration Tour , the song was mashed-up with " La Isla Bonita " (1987). The singer donned a cowboy hat, leather jacket, and pride flag as cape. From the Palm Springs Tribune , Marc Bearden felt the rendition was "beautifully done". Sales figures based on certification alone. Shipments figures based on certification alone. Sales+streaming figures based on certification alone. "Don't Cry for Me Argentina" has been recorded by

2673-694: The La Recoleta Cemetery in Buenos Aires. The plaque was presented by the city's taxi drivers' union and roughly translates as: "Don't cry for me Argentina, I remain quite near to you." Roger Ebert of the Chicago Sun-Times wrote "For years I have wondered, during 'Don't Cry for Me, Argentina,' why we were not to cry. Now I understand: We need not cry because (a) Evita got everything out of life she dreamed of, and (b) Argentina should cry for itself. Even poor Juan Peron should shed

2772-488: The Official Charts Company . The single also reached the top of the charts in Australia, Belgium, Ireland, New Zealand and Netherlands; in the latter country it sold around 100,000 copies. Seeing the success of the single, Rice and Lloyd Webber proceeded with promoting the song in the United States. However, the personnel at MCA Records' US office were not able to come to terms regarding how to promote

2871-684: The Promised Land . In 1933, during the Nazis' rise to power, Huberman declined invitations from Wilhelm Furtwängler to return to preach a "musical peace", but wrote instead an open letter to German intellectuals inviting them to remember their essential values. In 1936 he founded the Palestine Symphony Orchestra (which upon the establishment of the State of Israel in 1948 was renamed the Israel Philharmonic Orchestra ). For

2970-431: The adult contemporary oriented track; it was ultimately never sent to Top 40/CHR radio, and did not appear on any US charts . When the cast of the London musical version of Evita was being decided, Rice and Lloyd Webber naturally approached Covington to play the title role. However, she chose not to reprise the role. Producer Hal Prince wanted to cast a relatively unknown actress to play Eva, and thus Elaine Paige

3069-605: The harp while Anthony Bowles conducted the London Philharmonic Orchestra , while another choir called the London Boy Singles was directed by Alan Doggett. Members of The Grease Band , including bassist Alan Spenner and rhythm guitarist Neil Hubbard , also played on the album. It took a total of 3–4 months to finish the recording. The intensity which Rice looked for in the track was not immediately achieved during recording, because it

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3168-654: The "Berliner Rundfunk", but were unfortunately destroyed during the Second World War. In 1937, a year before the Anschluss , Huberman left Vienna and took refuge in Switzerland. The following year, his career nearly ended as a result of an airplane accident in Sumatra in which his wrist and two fingers of his left hand were broken. After intensive and painful retraining he was able to resume performing. At

3267-404: The "Miami Mix" as the 95th greatest pop song of 1997; Andrew Unterberger wrote that the remix "is just as responsible for the song's chart success as Madonna's Celine Dion vocal ambitions, taking the song from the balcony to the dance floor and giving it back to the people". In 2018, the same magazine called the remix "a weirdly enjoyable menage à trois between Broadway, Latin and club music, with

3366-636: The "Miami Mix" reached the top of the Billboard Hot Dance Club Songs chart. It ranked at number 87 on the year end chart for 1997. In Canada, the song debuted on the RPM Top Singles chart at number 34, the week of 10 March 1997. It ultimately reached a peak of number 11, the week of 7 April 1997. "Don't Cry for Me Argentina" reached number 1 on the European Hot 100 Singles , the week of 8 February 1997. In

3465-644: The 1920s and early 1930s, Huberman toured around Europe and North America with the pianist Siegfried Schultze and performed on the most famous stages (Carnegie in New York, Scala in Milan, Musikverein in Vienna, Konzerthaus in Berlin....). Over the course of many years, the duet Huberman-Schultze were regularly invited in private by European Royal Families. Countless recordings of these artists were done during that period at

3564-636: The CD single, and the song becoming eligible to chart. It debuted on the Billboard Hot 100 at number 17 the week of 22 February 1997, selling 46,000 units in its first-week. The single ultimately peaked at number 8 the week of 1 March 1997, becoming the first top 10 to originate in a stage musical since 1985 and Webber's first top 10 single in the US. The track also ranked within the top 20 of Billboard ' s Adult Contemporary and Adult Top 40 charts while

3663-606: The English violinist George Alfred Gibson. It was stolen twice. In 1919, it was taken from Huberman's Vienna hotel room but recovered by the police within 3 days. The second time was in New York City . On 28 February 1936, while giving a concert at Carnegie Hall , Huberman switched the Stradivarius "Gibson" with his newly acquired Guarnerius violin, leaving the Stradivarius in his dressing room during intermission. It

3762-616: The Gimme Gimmes in 1999 for their second studio album, Are a Drag . Angus Cargill, author of Hang the DJ: An alternative book of music lists was shocked by the complete revamp of the song as punk rock, saying that "there's a dark appeal in here, like the thought of taking a cattle prod to your grandma's". An unidentified piano rendition was also used as an ident for V19, a French numbers station based in Spain; an audio recording from

3861-490: The IPO as guest soloist. Starting in October 2013, he appeared as guest conductor with the orchestra each year. In January 2018, the IPO announced the appointment of Shani as its next music director, effective with the 2020-2021 season, a position he retains as of April 2022. In February 2024, the IPO, led by Tomer Adaddi, performed alongside Shiri Maimon for a concert and live album recording of her greatest hits, including

3960-444: The Israel Philharmonic announced that Mehta was to conclude his tenure as music director as of October 2019. Principal guest conductors of the orchestra have included Yoel Levi and Gianandrea Noseda . With Mehta, the IPO made a number of recordings for Decca . With Bernstein, the IPO recorded his own compositions and works of Igor Stravinsky , for Deutsche Grammophon. The IPO also collaborated with Japanese composer Yoko Kanno in

4059-431: The Israel Philharmonic, a cultural ambassador of the state of Israel. Bronis%C5%82aw Huberman Bronisław Huberman (19 December 1882 – 16 June 1947) was a Polish violinist . He was known for his individualistic interpretations and was praised for his tone color, expressiveness, and flexibility. The Gibson ex-Huberman Stradivarius violin, which bears his name, was stolen twice and recovered once during

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4158-506: The LP". American disco group Festival (produced by Boris Midney ) released a version in 1979, the single from an entire LP of disco covers of songs from Evita ; it reached 72 on the Billboard Hot 100 . Paloma San Basilio performed the song when she played the title role on the Spanish adaptation of the musical in 1980. Nacha Guevara , who also starred in the musical in 1986, has performed

4257-574: The Netherlands, where it managed to have top 5 placement. No official video was shot for the song. Instead, the scene from the movie, where Eva performs the song at the balcony of the Casa Rosada , was used. In 1993, two years before being cast in Evita , Madonna performed an impromptu version of the song during her first visit to Argentina with the Girlie Show . Eight years later, on 2001's Drowned World Tour , an instrumental version of

4356-586: The Pops , since Covington refused and whenever it was featured on the show, a montage of images of the real Eva was shown in the backdrops. However, during the week it was number one, she appeared in the audience. Rice and Lloyd Webber then targeted BBC Radio 1 , which was in its infancy, but still popular among the general crowd. They had a fairly tight selection of songs they aired on their channels, and Radio 1 refused to add "Don't Cry for Me Argentina" in their playlists. Rice and Lloyd Webber panicked and were almost on

4455-627: The State of Israel, the orchestra was renamed as the Israel Philharmonic Orchestra. In 1955, the Orchestra played for Pope Pius XII at the Vatican, in appreciation for the assistance the Pope had given to Jewish victims of Nazism during World War Two . Particular conductors notable in the history of the orchestra have included Leonard Bernstein and Zubin Mehta . Bernstein maintained close ties with

4554-678: The UK Singles Chart. Also in 1978 Shirley Bassey recorded the song for her album, The Magic Is You . Simon Gage from the Daily Express praised the rendition, saying that Bassey "more than covers the ground" with it. She recorded it again in 1993 for her album Sings the Songs of Andrew Lloyd Webber . Singer Tom Jones ' interpretation of the song on his 1979 album, Rescue Me , received negative reviews, with biographer Lucy Ellis describing it as "the most ludicrous massacre on

4653-463: The United Kingdom, the song reached number 3 on the week of 28 December 1996, and was present on the top 100 for a total of 13 weeks. The song was certified gold by the British Phonographic Industry (BPI) on 19 November 2021 for sales and streams exceeding 400,000. In Italy, it reached the second position on the Musica e dischi chart. In Australia, "Don't Cry for Me Argentina" peaked at number 9 on

4752-402: The United States, the song is also closely linked with Patti LuPone , who performed the role of Eva in the original Broadway production of the show. Credits adapted from the 7" single liner notes. Shipments figures based on certification alone. In 1996, Madonna starred in the film Evita , playing the title role. For a long time, Madonna had desired to play Eva and even wrote

4851-558: The Virgin Mary, as an asexual visionary whose suffering was Inextricably Intertwined with the pain of Ireland and of the world." Released as a CD maxi single, the song reached number 31 in Belgium Flanders and number 44 in Netherlands. An easy listening cover version of the song by The Mike Flowers Pops reached number 30 in the UK singles charts in 1996. A punk rock version was recorded by alternative band Me First and

4950-638: The album, Music and Songs from Evita . AllMusic's Joe Francis complimented the recording. The Carpenters recorded the song for their 1977 album, Passage , coupled with "On the Balcony of the Casa Rosada" which precedes it in the musical's score. The same year, Olivia Newton-John released the song as a single from her tenth studio album, Making a Good Thing Better . In 1978, the Shadows recorded an instrumental version that reached number five on

5049-473: The artistic future of the IPO and other orchestras, the school is located on the university's campus in Tel Aviv and works very closely with the IPO, including orchestral training programs, master classes with IPO guest artists and special concerts at the IPO's halls. Several members of the IPO are BMSM alumni, while various IPO musicians serve as BMSM faculty members. In 2007, Lahav Shani first appeared with

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5148-776: The backdrop screens. The performances of both songs in the city were recorded in the live DVD titled, Sticky & Sweet Tour (2010). The singer once again performed the song in Argentina during the MDNA Tour in December 2012. For the performance, she had the word "Eva" painted across her back. Madonna also did a "passionate rendition" of "Don't Cry for Me Argentina" during the Miami stop of her Rebel Heart Tour on 23 January 2016, accompanied by acoustic guitar . On 6 December, Madonna performed "Don't Cry for Me Argentina" during

5247-402: The balcony of Casa Rosada . Its melody is similar to the opening song of the musical, " Oh What a Circus ", which puts emphasis on Eva's funeral. As "Oh What a Circus" ended with the character Che's sarcastic questioning of the mourning behind Eva's death, "Don't Cry for Me Argentina" started with only few lines being sung, while the rest of the song was reserved for the finale. After the song

5346-613: The dance floor'." —Rice talking about the song's success to the Official Charts Company Following the completion of the recording of the album, the Evita team switched on to full promotion of the release, with photographer Tony Snowdon shooting the promotional pictures. The single version of "Don't Cry for Me Argentina" was released in the United Kingdom on 12 November 1976, accompanied by national and trade advertising, full-colour posters, display sleeves as well as radio interviews. Another song from

5445-449: The day of her husband Juan Perón 's inauguration ceremony, but not long after becoming Argentina's new First Lady, she started making highly emotional speeches, the intensity of which they wanted to capture with "Don't Cry for Me Argentina". The song was composed to appear at the opening and near the end of the show, initially as the spirit of the dead Eva exhorting the people of Argentina not to mourn her, and finally during Eva's speech from

5544-504: The film details how Huberman rescued nearly 1000 Jewish musicians and their families and created the Palestine Symphony Orchestra. The film also details how famous Jews and leading historical figures, such as Albert Einstein , were vital in creating the orchestra. Before 1936, Huberman's principal instrument for his concerts was a 1713-vintage Stradivarius "Gibson," which was named after one of its early owners,

5643-626: The film's songs and soundtrack began in September 1995, and took place at the CTS Studios in London with Madonna accompanied by co-actors Antonio Banderas and Jonathan Pryce . However, trouble arose as Madonna was not completely comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. She was used to singing over a pre-recorded track and not have musicians listen to her. Also, unlike her previous soundtrack releases, she had little to no control over

5742-411: The film's soundtrack, Madonna hired remixers Pablo Flores and Javier Garza . According to Flores, the singer wanted something that "would be dance but faithful to the movie and to Argentina with a latin feel". Madonna herself said she wanted the remix to have a "Latin flavor and elements of Tango music ". The mix was completed in two weeks at Miami and Los Angeles. Madonna had to re-record the vocals of

5841-402: The moment she was signed in the film, Madonna had expressed interest in recording a dance version of "Don't Cry for Me Argentina". According to her publicist Liz Rosenberg , "since [Madonna] didn't write the music and lyrics, she wanted her signature on that song... I think on her mind, the best way to do it was go in the studio and work up a remix". For this, in August 1996, while still mixing

5940-424: The musical, "Rainbow High", was listed as its B-side. MCA marketing manager Stuart Watson explained to Billboard that their chief goal was to "get an explanation of the story of Eva Perón over to the public". The song received critical appreciation, with The Sunday Times calling it a "masterpiece". However, Rice and Lloyd Webber felt that they needed more promotion to reach the general audience who would buy

6039-399: The onset of the Second World War, Huberman was touring South Africa and was unable to return to his home in Switzerland until after the war. Shortly thereafter he fell ill from exhaustion and never regained his strength. He died in Corsier-sur-Vevey , Switzerland, on 16 June 1947, at age 64. In 1929 Huberman first visited Palestine and developed his vision of establishing classical music in

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6138-406: The orchestra from 1947, and in 1988, the IPO bestowed on him the title of Laureate Conductor, which he retained until his death in 1990. Mehta became the IPO's Music Advisor in 1969. The IPO did not have a formal music director, but instead "music advisors", until 1977, when Mehta was appointed the IPO's first Music Director. In 1981, his title was elevated to Music Director for Life. In December 2016,

6237-530: The orchestra is Avi Shoshani. The IPO has a subscriber base numbering 26,000. Commentators have noted the musically conservative tastes of the subscriber base, although the IPO is dedicated to performing new works by Israeli composers, such as Avner Dorman . Among the orchestra's education initiatives are the Buchmann-Mehta School of Music , a partnership between the Israel Philharmonic Orchestra and Tel Aviv University . Created by Zubin Mehta and philanthropist Josef Buchmann to educate orchestral musicians to supply

6336-509: The orchestra, Huberman recruited leading Jewish musicians from Europe, showing "the prescience to realize that far more than a new job was at stake for these artists"—for "if it hadn't been for Huberman, dozens of musicians and their families—nearly 1000 people in all—would nearly certainly have died if they had stayed in countries including Germany, Austria, Poland and Hungary." He was assisted by violinist Jacob Surowicz . Conductor William Steinberg , then known as Hans Wilhelm Steinberg, trained

6435-509: The orchestra. The first concert, on 26 December 1936, was conducted by Arturo Toscanini ; Huberman had invited the Italian maestro when he heard of his refusing to perform in Germany to protest the Nazi takeover. The 2012 documentary film Orchestra of Exiles by writer, director and producer Josh Aronson recreates Huberman's work creating the orchestra through interviews and reenactments. Featuring interviews with Zubin Mehta , Pinchas Zukerman , Joshua Bell , and many other notable musicians,

6534-410: The orchestration would take place somewhere else. She also had alternate days off from the recording. According to the singer, she was very nervous during the first day of recording. She allegedly found herself "petrified" when it came to doing the song; "I had to sing 'Don't Cry For Me Argentina' in front of Andrew Lloyd Webber [...] I was a complete mess and was sobbing afterward. I thought I had done

6633-408: The people of Argentina not to mourn her, during Eva's speech from the balcony of the Casa Rosada , and during her final broadcast. The Evita album had taken 3–4 months to record, since Rice was not satisfied with the intensity of the initial recordings. The song had a number of different titles before "Don't Cry for Me Argentina" was chosen as the final one. The song shares its melody with " Oh What

6732-621: The period in which he owned the instrument. Huberman is also remembered for founding the Israel Philharmonic Orchestra (then known as the Palestine Philharmonic) and thus providing refuge from the Third Reich for nearly 1,000 European Jews. Huberman was born in Częstochowa , Poland , to a Jewish family. In his youth he was a pupil of Mieczysław Michałowicz and Maurycy Rosen at the Warsaw Conservatory , and of Isidor Lotto in Paris. In 1892 he studied under Joseph Joachim in Berlin. Despite being only ten years old, he dazzled Joachim with performances of Louis Spohr , Henri Vieuxtemps , and

6831-429: The phrase "Don't Cry for Me Argentina" for using it in the beginning of the show. Shortly before the album was finally mixed, Lloyd Webber suggested to Rice that the line also worked as the title of Eva's speech. As soon as Covington recorded with the new name, the song fit "perfectly" in the mood of the sequence and was included in the album. The title of the song comes from an epitaph on a plaque at Eva Perón's grave in

6930-684: The pop diva's own rise to the top. Madonna makes this song her own; she was born to play the chignon-coiffed, diamond-studded Santa Evita". The Huffington Post ' s Matthew Jacobs considered it as one of Madonna's most important songs, a "stand-in for the transition from Sexy Madonna to Adult Madonna". Writing for the Los Angeles Times , David Gritten opined that "show-stoppers like 'Don't Cry for Me Argentina', which need to be belted out, sound comfortable for her". A reviewer from Music Week rated it five out of five, calling it "a strong and fairly faithful rendition". In her review of Evita , Janet Maslin from The New York Times commented that

7029-403: The project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't [...] To work on 46 songs with everyone involved and not have a big say was a big adjustment", she recalled. An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part in a more contemporary studio while

7128-431: The reach of the Israel Philharmonic Orchestra and bring its message through music throughout the world. The monies raised by AFIPO are directed towards a fund which assists with the operational support of the orchestra and its musical education programs throughout Israel. Based in New York, the organization cultivates support for the Orchestra by hosting events and encouraging supporters all over North America to contribute to

7227-479: The record. They had initially decided for a number of television show appearances and performances, but Covington was uninterested in the project altogether and refused to promote it further. Her reasons included wanting to perform the song with the same studio orchestra and accompaniments, and she was also against a single release from the album. The song was never performed live on the British music show Top of

7326-452: The singer's dramatic interpretation of Evita's unofficial theme song was both loyal and bizarrely autobiographical". Spin ' s Annie Zaleski wrote that the "nuanced but proud" rendition of the song "marked the start of Madonna’s Serious Phase, one where she balanced youthful coquettishness with a more mature, introspective outlook". J. Randy Taraborrelli, author of Madonna: An Intimate Biography , wrote that "As Evita Perón [...] she

7425-439: The song including "It's Only Your Lover Returning" and "All Through My Crazy and Wild Days" amid fears that mentioning Argentina would reduce the commercial appeal. Rice recalled, "What a crass decision! It was probably the only time (honest) that I had made the mistake of caring more about a lyric's potential outside the show than its importance within it, and as a result both song and show suffered." Covington had already recorded

7524-407: The song live several times. Singer Sinéad O'Connor recorded "Don't Cry for Me Argentina" on her album Am I Not Your Girl (1992). Her version received mixed response, with Joy Press from Spin who described the rendition as "a melodramatic, sweeping ' Je ne regrette rien '—style apologia. O’Connor had a calling. Obsessed with purity and truth, she pitched herself somewhere between Christ and

7623-502: The song span from G 3 to C 5 . Upon release, the song generally received positive feedback. J. D. Considine , from The Baltimore Sun , said it was one of the "big songs" from the soundtrack. Peter Keough, from the Boston Phoenix , praised Madonna's "stunning delivery" of the track. He wrote: "[Madonna] sings a softly lush soprano that captures Evita's quiet vulnerability. Her full-lipped, precise notes stride across

7722-537: The song was used as an interlude, featuring several dancers doing a Tango number. The performance on 26 August 2001, at The Palace of Auburn Hills , outside of Madonna's hometown of Detroit was recorded and released in the live video album , Drowned World Tour 2001 . On the Buenos Aires stop of her Sticky & Sweet Tour in December 2008, after performing " You Must Love Me ", Madonna also performed "Don't Cry for Me Argentina" as scenes from Evita played on

7821-606: The song's grandiose orchestrations. Webber's songs allow her all the room she needs to be many things; she succeeds at them all". Greg Kot from the Chicago Tribune , opined that "her interpretation of the show-stopper 'Don't Cry for Me Argentina' doesn't try to outreach the many previous versions, but instead brings it back to earth with a low-key dignity". Robert Christgau called it a "dismal track" and criticized its mixing. Writing for Entertainment Weekly , Chuck Arnold opined that "while credible, [Madonna's rendition]

7920-617: The soundtrack of the anime Macross Plus . The initial concerts of the Palestine Orchestra in December 1936, conducted by Toscanini , featured the music of Richard Wagner . However, after the Kristallnacht pogroms in November 1938, the orchestra has maintained a de facto ban on Wagner 's work, due to that composer's antisemitism and the association of his music with Nazi Germany . The Secretary-General of

8019-414: The station, titled "Whiskey Tango Viente Y Uno" after its callsign, is included on The Conet Project . It is covered by Lloyd Webber's younger brother and cellist Julian on the 2001 album, Lloyd Webber Plays Lloyd Webber . Another version was recorded in 2010 by TV series Glee ' s actors Lea Michele and Chris Colfer , as the characters Rachel Berry and Kurt Hummel respectively. It

8118-479: The stories surrounding the life of Eva Perón while researching her during the mid-1970s. Evita was initially produced as an album, before being adapted for the stage, following a formula that Lloyd Webber and Rice had employed during the production of Jesus Christ Superstar , their previous musical. The duo had written the songs for a female singer with good vocals. Rice and Lloyd Webber's research showed that Eva had not in reality delivered any major oration on

8217-511: The theatre, but the fact it became a hit was incidental. I couldn't really understand how it became such a big hit. It was 6 minutes long, it had a minute instrumental by the London Symphony Orchestra and Julie Covington refused to promote it. It even went to number one in the disco chart, which I just couldn't understand. I asked a friend of mine who was a DJ, why was it so popular—he said, 'Because DJs are playing it to clear

8316-416: The title role in the film adaptation of the musical and recorded her rendition of "Don't Cry for Me Argentina". Released as the second single from the film soundtrack on 16 December 1996, her version received positive reviews from music critics who praised her vocal performance. A separate version called the "Miami Mix", which included re-recorded vocals in English and Spanish and an Argentinian bandoneon ,

8415-463: The track in English and Spanish, while an Argentinian bandoneon was added to the song's intro. Named the "Miami Mix", it was sent to radio stations and DJs on late December 1996. The song was officially released as the soundtrack's second single on 16 December 1996 in the United Kingdom, while in the United States, the track was released on 11 February 1997. Barney Kilpatrick, VP of promotion for Warner Bros. Records, said that "the only reason this mix

8514-522: The track was "tinglingly sung". A negative review came from NME ' s Alex Needham, who wrote; "by 1996 Madonna was fast turning into the pop equivalent of Sunset Boulevard ' s Norma Desmond, croaking, 'I'm still big! It's just the Top 40 that got small!", and that " ' Don't Cry For Me Argentina' stank then, stinks now". Author Lucy O'Brien wrote in the book, Madonna: Like an Icon , that although Madonna's vocals lacked emotional complexity in

8613-486: The transcription of a Frédéric Chopin nocturne. However, the two did not get along well, and after Huberman's fourteenth birthday he took no more lessons. In 1893 he toured the Netherlands and Belgium as a virtuoso performer. Around this time, the six-year-old Arthur Rubinstein attended one of Huberman's concerts. Rubinstein's parents invited Huberman back to their house and the two boys struck up what would become

8712-569: The tune, she nevertheless created a "compelling" version, "right up to its grand orchestral finale". George Hatza from The Reading Eagle , said that "[Madonna] sings 'Don't Cry For Me Argentina' in a beautiful, soaring, goosebump-inducing contralto ". Peter Travers from Rolling Stone , wrote: "Madonna, to her credit, puts on quite a show. She sings. She tangos [...] She even belts out 'Don't Cry for Me Argentina' to prove she's just folks". Sal Cinquemani from Slant Magazine commented: "Easily one of Madonna's greatest vocal performances to date,

8811-414: The verge of releasing another track from Evita called " Another Suitcase in Another Hall ", recorded by Barbara Dickson , as the second single. But Radio 1 finally relented and started playing the song due to positive response from audiences. "Don't Cry for Me Argentina" debuted at number 37 on the UK Singles Chart on the week ending 25 December 1976. It started climbing up the chart but for 3 weeks it

8910-421: The world they were all I desired / They are illusions". Lloyd Webber's orchestral accompaniment added a different level to the track, with its composition consisting of pizzicato strings , and its flowing tempo introducing Covington's opening vocals. The song jumps from being light to heavy and extravagant, with one section of it being hummed by choral voices. As the final lyrics goes, "But all you have to do

9009-472: Was Leo Kestenberg , who, like many of the orchestra members, was a German Jew forced out by the rise of Nazism and the persecution of Jews. During the Second World War, the orchestra performed 140 times before Allied soldiers, including a 1942 performance for soldiers of the Jewish Brigade at El Alamein . At the end of the war, it performed in recently liberated Belgium. In 1948, after the creation of

9108-608: Was composed, Lloyd Webber and Rice were struggling to find a suitable musical actress for the songs and the title role, since the only one they knew, Yvonne Elliman , had moved to the United States. One day they were watching the British musical television show Rock Follies , where they noticed actress and singer Julie Covington , who played an aspiring rock musician. Covington had played in London musicals like Godspell , and her acting abilities in Rock Follies convinced Rice and Lloyd Webber to sign her for Evita . Covington

9207-439: Was extremely intrigued by their proposal, considering Eva Perón to be a non-commercial idea for a musical. Nevertheless, she thought that the songs were great compositions and signed on for recording them. Lloyd Webber and Rice immediately started recording, and the first demos were those of "Don't Cry for Me Argentina", "I'd Be Surprisingly Good for You" and "Buenos Aires", with just piano as an accompaniment. They moved on to sign

9306-502: Was kept from reaching the top spot by David Soul 's " Don't Give Up on Us ". On the week ending 12 February 1977, the song reached the top of the charts. It was first certified silver in January 1977, and then certified gold a month later by the British Phonographic Industry (BPI), selling almost one million physical copies in the United Kingdom. Together with digital sales since it has sold about 1.01 million copies according to

9405-477: Was not going to make anybody forget Patti Lupone ". The Guardian ' s Jude Rogers wrote: "Sorry Andrew Lloyd Webber, but it's no ' Live to Tell '"; nonetheless, she praised the singer's vocal capacities. A very positive review came from the Hartford Courant ' s Greg Morago, who called the song "a calculated, theatrical triumph of shameless pandering and steely determination that parallels

9504-612: Was promoted to radio. Madonna's version reached number one on the European Hot 100 Singles chart and the national charts of the Czech Republic, France, Hungary, and Spain. It also became a top-ten hit on the US Billboard Hot 100 and many other charts worldwide, while attaining gold or platinum in six countries. "Don't Cry for Me Argentina" was written by Andrew Lloyd Webber and Tim Rice while they were developing Evita in 1976. Both were extremely intrigued by

9603-531: Was signed for the part. In 1977, Rice and Lloyd Webber received the Ivor Novello award in the category of Best Song Musically and Lyrically. During the 1982 Falklands War between the United Kingdom and Argentina, the song was sometimes played sarcastically by British regimental bands as they deployed to the Falklands. They changed the lyrics, singing it as "You don't frighten me Argentina / The truth

9702-551: Was stolen either by New York City nightclub musician Julian Altman or a friend of his. Altman kept the violin for the next half-century. Huberman's insurance company, Lloyd's of London , paid him US$ 30,000 for the loss in 1936. Altman went on to become a violinist with the National Symphony Orchestra in Washington, D.C. , and performed with the stolen Stradivarius for many years. In 1985, Altman made

9801-464: Was sung as a duet with each singer taking a different stanza and performing before a different audience in a split-scene. Their solo versions were also in Glee: The Music, The Complete Season Two and reached number 67 in the United Kingdom and number 97 in US. Multinational quartet Il Divo recorded it on their 2011 album, Wicked Game , and performed it live on tours. The group's voice

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