Latest news with #Don'tCryforMeArgentina
Forbes
6 days ago
- Entertainment
- Forbes
Sabrina Carpenter's Biggest Song Misses No. 1 Again As It Returns
Sabrina Carpenter's 'Espresso' climbs to No. 2 on both the Official Vinyl Singles and Physical ... More Singles charts in the U.K., missing No. 1 again. NEW YORK, NEW YORK - MAY 05: Sabrina Carpenter attends the 2025 Met Gala Celebrating "Superfine: Tailoring Black Style" at Metropolitan Museum of Art on May 05, 2025 in New York City. (Photo by) After Sabrina Carpenter released her single "Espresso" in April 2024, it didn't take long for the song to become a global hit. In the United Kingdom, the tune proved to be a breakout smash for the rising star, quickly soaring to No. 1 on multiple tallies during its initial heyday. "Espresso" became a champion on several rankings, and the excitement surrounding Carpenter and her discography has only grown, thanks in part to her ongoing Short N' Sweet Tour. Despite its success, "Espresso" once again fails to claim the No. 1 spot on a handful of rankings as it soars on multiple charts in the U.K. "Espresso" Returns to the Official Vinyl Singles Chart This week, "Espresso" reappears on the Official Vinyl Singles chart, where it is forced to settle for the runner-up spot. The tally is currently dominated by "Don't Cry for Me Argentina," performed by Rachel Zegler, the star of the current revival of Evita on the West End. The track, originally composed by Andrew Lloyd Webber – who is credited as an artist on the recording – blocks Carpenter from reaching the top. "Espresso" launched at No. 2 on the Official Vinyl Singles ranking back in June 2024. In the year and a half it has spent on the tally, Carpenter's cut has collected 17 appearances inside the top 10, but it has never managed to rise to the summit. "Don't Cry for Me Argentina" Leads Several Charts Carpenter also misses out on sending "Espresso" to No. 1 on the Official Physical Singles chart for the first time, as that list is likewise led by "Don't Cry for Me Argentina." Unlike on the vinyl ranking, however, "Espresso" doesn't return, because it was already present last frame, down at No. 45. This time around, it rockets more than 40 places to No. 2, a slot it has now owned five times. "Espresso" Surges Across Multiple Charts "Espresso" breaks back onto three of the six U.K.-based charts it appears on this week. In addition to the vinyl tally, the global smash reenters the Official Singles Sales ranking at No. 12 and the Official Singles Downloads list at No. 82. The tune climbs to No. 46 on the main ranking of the 100 most-consumed songs in the country at the same time. It drops slightly on the streaming roster, but still maintains a spot inside the top 40. Multiple Sabrina Carpenter Hits Return to the U.K. Charts "Espresso" is one of six singles by Carpenter that currently appear on the U.K. charts. Several of those return to at least one tally, including "Juno," "Please Please Please," and "Nonsense,' as all of them have become bestselling hits once again.
New Statesman
16-07-2025
- Entertainment
- New Statesman
Evita for the West End masses
Photo by Marc Brenner Every night Eva Perón appears on the balcony of the Casa Rosada, the Argentinian presidential mansion, serenading the congregated descamisados, or impoverished workers. Except it's not the balcony of the Casa Rosada – it's one outside the London Palladium. It's also Rachel Zegler performing 'Don't Cry for Me Argentina', not Eva Perón. And the spectators aren't descamisados – they're (mostly) Londoners, squeezed on to Argyll Street between a Pret a Manger and a Five Guys, many of whom hold their phones aloft, hoping to catch a good shot of Zegler. This is the climax of Jamie Lloyd's radical version of Evita, and in staging the famous scene outside the theatre, he has brought the sneering, populist magic of Perón to the masses. It's easy to understand the logic of Lloyd's decision to present the most famous number in Andrew Lloyd Webber and Tim Rice's 1978 musical to a passing rabble of plebs. A major theme of Evita is its heroine's disdain for the bourgeoisie ('Screw the middle classes – I will never accept them' is a notable refrain). For in singing to the crowd outside, Zegler symbolically neglects the said classes, housed comfortably inside the Palladium – those who have paid to see the show watch a video of Zegler's performance, which is livestreamed back into the theatre. But, despite its potential for revolt – from those inside crying outrage at being denied a front-row seat for this iconic moment and asking for a refund – Lloyd's zeitgeisty ploy works. It accentuates the depth and authenticity of Zegler's performance. Zegler is a phenomenal Evita: insouciant and cutting in her command of the stage, and of the snobs and misogynists who surround her. Diego Andres Rodriguez is the perfect foil to her cunning, as the musical's revolutionary descamisado narrator, Che. The pair skilfully waltz their way through Evita's many musical numbers, mastering frenetic choreography and a demanding musical score. Lloyd took a gamble in the staging of this stripped-back, unconventional revival, and it has paid off. Evita The Palladium, London W1F [See also: Lana Del Rey's Deep South fantasia] Subscribe to The New Statesman today from only £8.99 per month Subscribe Related
Forbes
16-07-2025
- Entertainment
- Forbes
Rachel Zegler Charts Her First No. 1 Song
Rachel Zegler and Andrew Lloyd Webber's "Don't Cry for Me Argentina" debuts at No. 1 on both the ... More Official Physical Singles and Vinyl Singles charts in the U.K. SEGOVIA, SPAIN - MARCH 12: Rachel Zegler at the European event for Disney's "Snow White" at Alcazar de Segovia on March 12, 2025 in Segovia, Spain. (Photo byfor Disney) Ever since she scored her big Hollywood debut in Steven Spielberg's adaptation of West Side Story, Rachel Zegler has managed to marry her love of both acting and singing on a number of projects. Some have been slightly less well-received — like the recent live-action Snow White remake — while her turn as the star of Evita, currently playing on the West End in London, has garnered positive reviews. Zegler, along with the man who wrote Evita, Sir Andrew Lloyd Webber, chart a very special hit together, as fans are clearly intrigued by Zegler's take on one of the most famous musical theater songs of all time. "Don't Cry for Me Argentina" Hits No. 1 "Don't Cry for Me Argentina" debuts on several charts in the United Kingdom this week, as a new recording of the classic was recently released. The tune — often regarded as the standout from Evita — was recently sold as a standalone single, and it's become a huge hit in the country. The track starts at No. 1 on both the Official Physical Singles and Official Vinyl Singles charts at the same time. Rachel Zegler and Andrew Lloyd Webber's Smash The new version of "Don't Cry for Me Argentina" credits not just Zegler as the vocalist, but Webber as the composer — and as an artist as well. That means both superstars score their first number ones on the tallies where "Don't Cry for Me Argentina" opens in first place. Zegler is new to both rankings, while Webber has already topped the list of the bestselling songs on any physical format. In 2023, "Make a Joyful Noise" reached the tally for the first time and hit No. 1. Rachel Zegler Reaches a New Peak "Don't Cry for Me Argentina" also lands on the Official Singles Sales chart, which ranks the bestselling songs in the U.K., regardless of format. The Evita cut opens at No. 15, marking a new high point for Zegler. Her previous peak was No. 74, which she climbed to earlier this year with "Waiting on a Wish" from the recent Snow White adaptation. Webber, meanwhile, has already broken into the top 10 with "Make a Joyful Noise."
Time Out
10-07-2025
- Entertainment
- Time Out
Elena Roger on tour: 'In these concerts, i'm revealing who i am'
After performing on grand stages in London, Broadway, and Buenos Aires, Elena Roger returns to touring with a show that presents her exactly as she is: intimate, powerful, and deeply emotional. In 'Elena Roger en Concierto', the artist will perform in Argentina, Chile, Spain, and Uruguay alongside pianist Nicolás Guerschberg, with a repertoire ranging from Piaf to Piazzolla, from 'Don't Cry for Me Argentina' to 'Balada para un loco.' But more than a tour, this journey is a sort of musical travel diary: 'I'm revealing who I am,' says Elena, who chose a smaller format not to downsize but to 'focus on the subtle' and connect differently with the audience. We spoke with her about what it means to represent Argentine culture abroad, what she always carries in her suitcase, and the musical surprises she is preparing for this new phase. With this tour, you're taking a little piece of Argentina through Chile, Spain, and Uruguay. What does it mean to you to represent Argentine culture beyond the country? I feel like I'm representing my soul, my being, which was shaped in Argentina but also has very strong experiences from other countries. That's why my repertoire is so eclectic. In these concerts, I'm revealing who I am. After performing on huge stages, now you're back with a more intimate show featuring just piano. What does that small format give you that no giant theater can? The theaters where I will perform will still be large; it's just that the proposal is intimate so we can get to know each other better. To focus on the subtle. You're touring through three very different countries. What do you always carry in your suitcase to feel a bit at home in every city? I'm always at home. You've played intense, sensitive, powerful women… How much of Elena is in all those stories you've told through singing? All of that is in me, it's in all of us; it's just that to interpret them I nourished those places, feelings, and sensations more deeply. If you could add a new song to your repertoire that nobody expects, what personal treat would you give yourself on stage? Everything I perform is of my personal taste. This time, I'm going to include songs I've never sung live before, but that's a surprise and I don't want to spoil it. If you want to find out, come to my concerts! "This time, I'm going to include songs I've never sung live before" Ping-pong with Elena Roger What do you miss from Buenos Aires when you're on tour? Gatherings with friends and family. A Buenos Aires neighborhood that inspires you to create? Barracas. An Argentine play that marked you forever? The first play I saw as a child was El diluvio que viene. It's not an Argentine play—it's Italian—but it was beautifully interpreted and created by Argentines. Miguel Ángel Trelles was the lead. Who is your favorite Argentine visual artist? Benito Quinquela Martín. A tango that never fails to bring emotion to life? Naranjo en flor. What porteño word best defines you? Pebeta. An Argentine writer's book you would always recommend? Aterrados by Demián Rugna. Where do you like to get lost in Buenos Aires to recharge? My bed. What Argentine song represents you today? Vivo by Cerati. Dates in Argentina: Friday, August 15, 9 PM – Neuquén, CINE TEATRO ESPAÑOL, tickets here. Saturday, August 16, 9 PM – Cipolletti, COMPLEJO CULTURAL CIPOLLETTI, tickets here. Sunday, August 17, 8 PM – Villa Regina, Teatro Círculo Italiano, tickets here. Friday, August 28 – Rosario, Teatro El Círculo, tickets here. Sunday, September 28, 8:30 PM – La Plata, Teatro Coliseo Podestá, tickets here. Thursday, October 2, 9 PM – San Juan, Auditorio Juan Victoria, tickets here.
New York Times
02-07-2025
- Entertainment
- New York Times
Rachel Zegler Delights in an ‘Evita' for the Masses
'She's a diamond in their dull gray lives,' sings the Argentine president Juan Domingo Perón of his wife in 'Evita,' Tim Rice and Andrew Lloyd Webber's sung-through musical about Eva Perón. She was a former matinee star whose popularity among the working classes bolstered support for her husband's government, and 'Evita' expresses some skepticism about political populism. Yet a new revival, directed by Jamie Lloyd and running at the London Palladium through Sept. 6, is emphatically populist in its relentless bombast, heavy symbolism and button-pushing grandiosity. The initially moody staging — industrial gray metal stairs, smoke effects, dark costumes — belies the sensory overload ahead: Balloons are popped; lights are turned up blindingly bright; blue and white confetti rain down on the audience. Rachel Zegler ('Snow White' and 'West Side Story'), making her West End debut, is a delight in the title role, strutting bossily in a black leather bra and hot pants while a chorus — representing soldiers or ordinary citizens — cavorts elaborately around her to a brassy tango-inspired soundtrack, delivered by an 18-piece band. (Choreography is by Fabian Aloise, lighting is by Jon Clark and set and costumes are by Soutra Gilmour.) The show begins and ends with Evita's death from cancer, at the age of 33, in 1952. In the intervening two hours she is goaded and reproached in song by Che (Diego Andres Rodriguez), a wisecracking Everyman in a black T-shirt and cargo shorts, who teases Evita for cozying up to an authoritarian leader and sleeping her way to the top. In one song he quips bitterly, 'Don't you just love the smack of firm government?' (For this impertinence, he is later killed — doused with fake blood, then with blue and white paint, the colors of the Argentine flag.) Evita is portrayed as a cynical, ruthless social climber, and the audience is invited to sympathize with the people she hurts along the way. She unceremoniously dumps a boyfriend — the tango singer Agustín Magaldi (played with hangdog charm by Aaron Lee Lambert, who sings beautifully) — once he has ceased to be useful to her. And she breezily steals Perón (James Olivas, physically imposing but stiff — and thus convincingly military) from his girlfriend (Bella Brown), who sings a doleful song before vanishing, never to be seen again. Much preshow hype surrounded Lloyd's decision to stage the famous scene in which Evita sings the show's signature tune, 'Don't Cry for Me Argentina,' on the theater's exterior balcony; members of the public see the spectacle in the flesh, while theatergoers make do with video footage beamed onto a big screen in real time. Want all of The Times? Subscribe.
