patti lupone sang don't cry for me argentina original.
patti lupone sang don't cry for me argentina original.
who sang don't cry for me argentina original?
patti lupone
"the huffington post"s matthew jacobs placed it at number 26 of his list "the definitive ranking of madonna singles". calling it one of madonna's most important songs, jacobs considered the track a "stand-in for the transition from sexy madonna to adult madonna". similarly, "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". 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 the "miami mix" as the 95th greatest pop song of 1997; andrew unterberger wrote that "pablo flores and javier garza's miami mix 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 listed the "miami mix" as the singer's 79th best single, calling it "a weirdly enjoyable menage à trois between broadway, latin and club music, with 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". "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 and placed the song at number 57 in her ranking of madonna's singles, in honor of her 60th birthday. writing for "entertainment weekly", chuck arnold opined that "while credible, [madonna's rendition] was not going to make anybody forget patti lupone". in his review of the singer's second greatest hits album, "ghv2" (2001), stephen thomas erlewine from allmusic gave a more critical reception, as he felt the track was out of place among other madonna songs; "the very presence of 'don't cry for me argentina' [...] simply does not feel comfortable next to the rest of the savvy, modern music". 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". robert christgau called it a "dismal track" and criticized its mixing.
don't cry for me argentina
after the french revolution (1789–1799), the chapel of st. florentin was in such a ruinous state that the engineer appointed by napoleon decided that it was not worth preserving and had it demolished. the remaining stonework was used to repair the château d'amboise. some sixty years later (and 330 years after leonardo's death and original burial), the foundational site of the chapel of st. florentin was excavated: it is alleged that a complete skeleton was found, with fragments of a stone inscription containing some of the letters of his name. however, other accounts describe heaps of bones (as is customary in chapels throughout france) and even anecdotes of children kicking skulls around for fun and games. nonetheless, based on some contemporaneous accounts, it is the collection of bones that were found to be whole and with an extraordinarily large skull that are supposed to be buried in the chapel of saint hubert, where now a large floor-level marble stone bearing a metal medallion relief portrait of leonardo da vinci (based on the "melzi's portrait") and the words leonardo da vinci seem indicative of his final resting place.
château d'amboise