Seth - I absolutely LOVE what you do! I was 11 when I first heard Evita in 1981 and became obsessed with it - knew it backwards and forwards - then I lost all my hearing at age 36. Evita was so ingrained that, after becoming deaf, as I was watching a performance of “New Argentina” I was able to follow along by kinda lip-reading (and counting). And I hit all the right pitches to the complete amazement of my partner (and myself). I now have a cochlear implant and can hear, but music is...strange. Sound is directed right to my auditory nerve since my ears are useless. The range of pitch is limited and I hear every single harmonic so my brain has to pick out the relevant ones in order for music to make sense. But my auditory memory fills in the blanks and I still sing along to Evita like I did when I was 11! And EVERYTHING you’ve pointed out, the meter changes, key changes, etc are things I’ve mused over in my mind - alone - for years. Your videos make my brain happy!
Lol, we could've been 11-year-old Evita dorks together! So glad you're able to sing along again (and horrify your family as I am after loading Evita up on Spotify)!
I personally welcome the tough notes in a song being a little low rather than excessively high as seems to be the current trend in a world with less and less time for altos and baritones (not to mention basses).
Seth always manages to point out the most unimaginable aspects of all of my favorite showtunes, forcing me to go back and listen to them in a whole new light, all while making me laugh my butt off!! My eyes are watering, this was so hilarious 😂😂 I’ll never listen to this song the same way again, and I’m so grateful for it. This was so amazing! Thanks, Seth!
I don’t always understand some of the references and terminology but I am always thoroughly entertained by these deconstruction videos. This man is a musical genius!
"Why am I nicknaming 'seven'?" LOL Love you Seth!!!! Another GREAT deconstruction! Also, your sense of humor (violin's faces and yours during A Chorus Line etc). mixed with the breakdown of the musicality is nothing short of brilliant.
When I started to learn how to sing when I was a kid, I would sing the ÉVITA (Lapone) soundtrack from beginning to end because I thought the vocals (all roles) were awesome. The singing felt “clean” to me. To find this post and have it deconstructed just points out how brilliant everyone involved in this production is! Must say saw a touring production of ÉVITA a couple of years ago. One word: sad. Love you Seth!!! You rock! Wish you were my music teacher when I was growing up!❤️⭐️❤️⭐️❤️⭐️❤️
andrew lloyd webbers muicals are REALLY complex and thats what makes it unique. If you look at "New Argentina" the notes are really high e5-g5, and the notes on "Rainbow High" are high and not many people can hit those high notes. And i think this is what makes andrews musicals stand out from other musicals.
I was in this show in high school and I am STILL OBSESSED with it!!! You're so right though, the score is so insane! We started learning it in June and presented it the following April and KILLED IT.
I also loved the original recording with Julie Covington. The band was raw and so exciting. Seth, you are a genius and outstanding in what you do for us. Thank you.
Seth, I just want to thank you for not only the amazing gifts of your insight and comedic commentary, but honestly you are such a brilliant teacher and musician as well. Thank you for this video... Thank you.
Seth, you are amazing. If I ever live in NY I would want to take classes from you-only to have a better understanding of music. Thank you so much for the education.
I’m ashamed that I’ve only been familiar with the movie version of this song (I was obsessed with the movie when it came out and that soundtrack was my only reference to the musical). But wow the stage version is so rich and complex and just wow. The movie version is kinda toned down for this song, especially with Madonna in the vocals. I definitely need to listen to the stage version album. Thanks Seth for yet another great deconstruction video! Am obsessed with your channel too 😁
I think Patti's sounds harder because "and" is a weird word to hit any kind of note on vs "you" For me, O and U vowels don't feel as hard as "and" or E vowels. the "you" at the end of Everything's Coming Up Roses seems more managable, I guess?
I am an evitaholic I freely admit that! The complex musical harmonies just provide a bed for the complex lyrical issues about love, one night stands, politics and more. EVITA the woman was criticized for Hollywood-izing politics. Now, we ask, how could it be any other way?
Note to Stephen Sondheim who talks about someone In acceptance speeches (sorry I can’t remember name) of someone who can play all songs and knows every note ever written in musical theatre on piano (and lyrics too) and is tireless. Excuse me I thought that was Seth Rudetsky
The rehearsal pianist Stephen Sondheim has recently, repeatedly, thanked is Paul Ford. [This is apart from his literally-every-show-win thanks to orchestrator Jonathan Tunick and his opening night conductor (Harold Hastings for the first three winning scores, but then Paul Gemignani, who -- as a side note -- started his theatre career as a percussionist in the Follies orchestra, before graduating to the role of preeminent Broadway MD.)] A master-cut of all of Sondheim's Tony wins: ua-cam.com/video/whXMi5Pqf3k/v-deo.html An example of Paul Ford being amazing (and, not for nothing, also of Stephen Sondheim proving his genius ten-fold as he rewrites circles around Ira Gershwin): ua-cam.com/video/zRB-HP9rPGQ/v-deo.html That last link is also the best argument I know for giving two Tonys to Lauren Bacall for musicals. She may not have had the finest voice, but boy did she know how to deliver a song!
yeah, strange. Sure Patti does Evita brilliantly, but Seth is sorta acting like she wrote it and all the 'amazing parts' are her decisions. The jump from the low E to the high C is literally in the score, so not sure why he's so obsessed with Patti doing it, when Julie Covington and Elaine Paige had already done it before
@@giovannirastrelli9821 ahaha true. Which she shouldn’t have done! There are videos of her and the comments are all ‘she doesn’t follow the orchestra, the orchestra follows HER! What a queen’. Umm, that’s a sign of being unprofessional! Conductor is in charge of tempos, not cast. Of course she’s good, and she really brings out the presence of Eva Peron, but she’s not the best. Also her slides are terrible... particularly sliding from ‘bow’ to ‘high’. It’s not particularly obvious in the cast recording, but the live performances are tragic
@Matthew Tzivakis, all good points, but I also meant she was the first to sing the faster version of the score. I have a full audio of an early performance of the original London production with Elaine Paige and David Essex, and I can’t even begin telling you how SLOW the tempo is, it’s unbearable in places.
@@giovannirastrelli9821 ah, righto. Tempos were slow on the original concept album as well. A new Argentina is woeful!! That is one song that sounds so much better when it’s faster. A full audio of the London production? Can you please share it with me! I only have the London cast album, which leaves out most of the show. I’d do anything to hear the full thing!
Seth, I don’t get why you never bring up the issue of the dance bridge-on the concept album the first 11 notes sound like a plagiarized version of the Beatles’ “All My Lovin’”! With each successive version it became more and more obscured, perhaps to avoid litigation?
Does Ms Lu Pone not always belt? - her diction is very poor in the fast phrases, can't hear the words at all - love these videos.. so interesting... Tim Rice is a great lyricist
Patti Lupone unquestionably has volume and a very hi belt. She also has some of the worst musical instincts on the planet. Whenever I watch her crucify a song, I'm half expecting Jan Hooks and Nora Dunn to join her for a Sweeney Sisters trio
Seth - I absolutely LOVE what you do! I was 11 when I first heard Evita in 1981 and became obsessed with it - knew it backwards and forwards - then I lost all my hearing at age 36. Evita was so ingrained that, after becoming deaf, as I was watching a performance of “New Argentina” I was able to follow along by kinda lip-reading (and counting). And I hit all the right pitches to the complete amazement of my partner (and myself). I now have a cochlear implant and can hear, but music is...strange. Sound is directed right to my auditory nerve since my ears are useless. The range of pitch is limited and I hear every single harmonic so my brain has to pick out the relevant ones in order for music to make sense. But my auditory memory fills in the blanks and I still sing along to Evita like I did when I was 11! And EVERYTHING you’ve pointed out, the meter changes, key changes, etc are things I’ve mused over in my mind - alone - for years. Your videos make my brain happy!
Tina Matyskela great post. So fantastic you have your hearing back. Best wishes.
Lol, we could've been 11-year-old Evita dorks together! So glad you're able to sing along again (and horrify your family as I am after loading Evita up on Spotify)!
I just belly laughed at "Just a little torture starts with a T" 😂😂😂
I love this man.. he’s a genius and the best gift the American Musical Theater has ever had
I personally welcome the tough notes in a song being a little low rather than excessively high as seems to be the current trend in a world with less and less time for altos and baritones (not to mention basses).
True
Right! Altos need more love!
As an alto, I feel this deeply. Ugh.
Seth always manages to point out the most unimaginable aspects of all of my favorite showtunes, forcing me to go back and listen to them in a whole new light, all while making me laugh my butt off!! My eyes are watering, this was so hilarious 😂😂 I’ll never listen to this song the same way again, and I’m so grateful for it. This was so amazing! Thanks, Seth!
THIS was unbelievably hilarious. I ENJOYED the HELL out of every SECOND!!
I don’t always understand some of the references and terminology but I am always thoroughly entertained by these deconstruction videos. This man is a musical genius!
***hand to the hip*** “why am I nicknaming seven?”
how is this only shy of 34k views when I've watched it 100 thousand times myself.
come on people get with the program.
"Why am I nicknaming 'seven'?" LOL Love you Seth!!!! Another GREAT deconstruction! Also, your sense of humor (violin's faces and yours during A Chorus Line etc). mixed with the breakdown of the musicality is nothing short of brilliant.
Please rainbow high! Regards from Chile
Eduardo Pardo Garretón he already did rainbow high on his channel. Elaine Paige 👍
Obsessed with the Italian pronunciation of "face."
Obsessed with Evita too. Obsessing with Seth’s videos now
When I started to learn how to sing when I was a kid, I would sing the ÉVITA (Lapone) soundtrack from beginning to end because I thought the vocals (all roles) were awesome. The singing felt “clean” to me. To find this post and have it deconstructed just points out how brilliant everyone involved in this production is!
Must say saw a touring production of ÉVITA a couple of years ago. One word: sad.
Love you Seth!!! You rock! Wish you were my music teacher when I was growing up!❤️⭐️❤️⭐️❤️⭐️❤️
Pleeeeeaaaase do more Evita deconstructions. The two you have already done are so good.
The Ethel Merman comparison.. I died laughing! 😂😂😂
I was kind of disappointed he didn’t mimic Patti hitting that note while smoking. 😂
Love these newer deconstructions, Seth :)
andrew lloyd webbers muicals are REALLY complex and thats what makes it unique. If you look at "New Argentina" the notes are really high e5-g5, and the notes on "Rainbow High" are high and not many people can hit those high notes. And i think this is what makes andrews musicals stand out from other musicals.
he didn't mean they're complex because some of the notes are high...
Mmm i m a baritone and i can sing rainbow high 🤷🏻♂️ so I don’t know how much HIGH can be
And why we remember the singers...
I can't believe this video has only 700 views. I enjoy what you do so much. Greetings from actual Buenos Aires.
Somehow I missed this when it came out. Buenos Aires is my fave show tune. Great video, thanks so much.
I was in this show in high school and I am STILL OBSESSED with it!!! You're so right though, the score is so insane! We started learning it in June and presented it the following April and KILLED IT.
Newest drinking game.. take a shot every time Seth says “obsessed”
I am not musically inclined (despite having many family members who are!) yet I understood every word that you said. Loved this.
I stumbled onto this during our national quarantine. Seth, you made my life worth living! 🥰 Thank you for your entertaining and brilliant analysis. 💙
This is my FAVOURITE thing omg
"why am I nicknaming seven?"
I also loved the original recording with Julie Covington. The band was raw and so exciting.
Seth, you are a genius and outstanding in what you do for us. Thank you.
YOU are Ah-mah-zing!!! A national theatrical treasure!!!
I love you, Seth and how passionate you are about the details. If I had to be on a desert island with someone, it would be you - and a piano!!!
Seth, I just want to thank you for not only the amazing gifts of your insight and comedic commentary, but honestly you are such a brilliant teacher and musician as well. Thank you for this video... Thank you.
Seth, you are amazing. If I ever live in NY I would want to take classes from you-only to have a better understanding of music. Thank you so much for the education.
I ADORE him!!!
Three years later Seth is still fighting for the full orchestra, thanks seth
ARGENTINA Simplemente TE AMO.
LOL, the clapping! I died ^;_;^
Seth!!! This is amazing!
Seth! Love you. Those cords in the break sounds like a tribute to Bernstein from West Side Story IMHO
Sir, you are amaizing.
hands down the best song from this album alone because of the orchestrations
This is great! The first time I MDed this show I just memorized the score. I basically never looked at it. Lol
I’m ashamed that I’ve only been familiar with the movie version of this song (I was obsessed with the movie when it came out and that soundtrack was my only reference to the musical). But wow the stage version is so rich and complex and just wow. The movie version is kinda toned down for this song, especially with Madonna in the vocals. I definitely need to listen to the stage version album. Thanks Seth for yet another great deconstruction video! Am obsessed with your channel too 😁
You are brilliant, and I am howling throughput this! (nickname sev, clapping? your face playing the violin…) I am obsessed.
I love your shirt!
Before Broadway Evita, I was in love with Boris Midney's Disco Evita album.
Love Seth!
I'm a sucker for hearing pianos in orchestras arrangements. When it's exposed or when it slips out occasionally.
EVITA DORKS UNITE!!!
Full orchestras, hell yeah!!
You are hysterical-the clapping...haha
someone watching this must know of a way to somehow share it with Tim Rice, how cool would that be if he responded!
He is hilarious!
No one explains the genius of Patti LuPone’s singing better than Seth
I think Patti's sounds harder because "and" is a weird word to hit any kind of note on vs "you" For me, O and U vowels don't feel as hard as "and" or E vowels. the "you" at the end of Everything's Coming Up Roses seems more managable, I guess?
Seth, please consider deconstructing City of Angles.
The clapping KILLED me
Just a little torture starts with a T 😂😂😂
Please deconstruct Julie Covington s Evita
16.42 onwards sounds like part of what he wrote in CATS....the cacophony
You should also deconstruct the version from the 1980 Spanish album, it sounds even more different there.
I am an evitaholic I freely admit that! The complex musical harmonies just provide a bed for the complex lyrical issues about love, one night stands, politics and more. EVITA the woman was criticized for Hollywood-izing politics. Now, we ask, how could it be any other way?
Anyone know the video he's talking about near the end I can't figure it out for the life of me
ua-cam.com/video/B35yU0PivSE/v-deo.html
Note to Stephen Sondheim who talks about someone In acceptance speeches (sorry I can’t remember name) of someone who can play all songs and knows every note ever written in musical theatre on piano (and lyrics too) and is tireless. Excuse me
I thought that was Seth Rudetsky
The rehearsal pianist Stephen Sondheim has recently, repeatedly, thanked is Paul Ford. [This is apart from his literally-every-show-win thanks to orchestrator Jonathan Tunick and his opening night conductor (Harold Hastings for the first three winning scores, but then Paul Gemignani, who -- as a side note -- started his theatre career as a percussionist in the Follies orchestra, before graduating to the role of preeminent Broadway MD.)]
A master-cut of all of Sondheim's Tony wins:
ua-cam.com/video/whXMi5Pqf3k/v-deo.html
An example of Paul Ford being amazing (and, not for nothing, also of Stephen Sondheim proving his genius ten-fold as he rewrites circles around Ira Gershwin):
ua-cam.com/video/zRB-HP9rPGQ/v-deo.html
That last link is also the best argument I know for giving two Tonys to Lauren Bacall for musicals. She may not have had the finest voice, but boy did she know how to deliver a song!
This gave me a newfound respect for Andrew Lloyd Webber. Brava!
I hear a JCSS similarity in part?
Just a little torture starts with a T will be in my head for eons now
Claps sound like dancing on the street? Spanish dancing ?
I think some of the clapping uses part of a rumba clavé pattern
lol, the violins have to be the altos for once. there's a celebration when things go up a half-step.
No mention of Elaine Paige’s “transitional” version on the OLC album?
yeah, strange. Sure Patti does Evita brilliantly, but Seth is sorta acting like she wrote it and all the 'amazing parts' are her decisions. The jump from the low E to the high C is literally in the score, so not sure why he's so obsessed with Patti doing it, when Julie Covington and Elaine Paige had already done it before
Matthew Tzivakis The only thing Patti “pioneered” in the score is that she sang it in a faster tempo.
@@giovannirastrelli9821 ahaha true. Which she shouldn’t have done! There are videos of her and the comments are all ‘she doesn’t follow the orchestra, the orchestra follows HER! What a queen’. Umm, that’s a sign of being unprofessional! Conductor is in charge of tempos, not cast. Of course she’s good, and she really brings out the presence of Eva Peron, but she’s not the best. Also her slides are terrible... particularly sliding from ‘bow’ to ‘high’. It’s not particularly obvious in the cast recording, but the live performances are tragic
@Matthew Tzivakis, all good points, but I also meant she was the first to sing the faster version of the score. I have a full audio of an early performance of the original London production with Elaine Paige and David Essex, and I can’t even begin telling you how SLOW the tempo is, it’s unbearable in places.
@@giovannirastrelli9821 ah, righto. Tempos were slow on the original concept album as well. A new Argentina is woeful!! That is one song that sounds so much better when it’s faster. A full audio of the London production? Can you please share it with me! I only have the London cast album, which leaves out most of the show. I’d do anything to hear the full thing!
? is there anyone better than Seth A- No , no there is no one better
I think the piano part was borrowed from "Aquarela do Brasil". Here ua-cam.com/video/8AzpKlstByI/v-deo.html
Seth, I don’t get why you never bring up the issue of the dance bridge-on the concept album the first 11 notes sound like a plagiarized version of the Beatles’ “All My Lovin’”! With each successive version it became more and more obscured, perhaps to avoid litigation?
16:20 "Listen to these chords! *plays chords* what the hell??"
Do you understand the claps?
Does Ms Lu Pone not always belt? - her diction is very poor in the fast phrases, can't hear the words at all - love these videos.. so interesting... Tim Rice is a great lyricist
Can't stop laughing at the bored violin player.
Lmao 9:18
Patti Lupone unquestionably has volume and a very hi belt. She also has some of the worst musical instincts on the planet. Whenever I watch her crucify a song, I'm half expecting Jan Hooks and Nora Dunn to join her for a Sweeney Sisters trio
More I'll informed pretentious claptrap.
Ugh. Play a Sousa march on French Horn and talk about poor violins not having a melody.
Sorry, but I secretly like Madonna's version better. Don't @ me.