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"Oh What a Circus" is a song from the 1976 musical Evita, which had lyrics by Tim Rice and music by Andrew Lloyd Webber. It was recorded by English singer David Essex and released as a single on August 19, 1978, by Mercury Records. Essex played the character of Che in the original London production of the musical, and the song is sung from his ...
Rock music includes "Oh What a Circus", "Perón's Latest Flame", and a song cut from the original production called "The Lady's Got Potential". The song was reinstated for the 1996 film with revised lyrics by Rice, and has also been used in Japanese, [ 14 ] Czech , [ 15 ] and Danish [ 16 ] stage productions to expand on Argentine history for ...
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 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 ...
In 1976 the words of the first verse of the Salve Regina were used as a repeating theme in the song Oh What a Circus in the musical Evita, with music by Andrew Lloyd Webber and lyrics by Tim Rice. [19] Salve Regina University, a U.S. university established by the Sisters of Mercy in 1934, was named in honor of the Salve Regina hymn and motto. [20]
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David Essex Oh What a Circus (Salve regina mater misericordiae) “Hail (the) queen, mother of mercy” Estampie – Ave generosa, Stella splendens, O Fortuna * Eurielle – City of the Dead; European anthem (unofficial) Fabrizio De André – Laudate hominem (glory (to the) man) Faith and the Muse – Cantus, Chorus of the Furies; Finisterra ...
Evita is a concept album released in 1976 and produced by Andrew Lloyd Webber and Tim Rice about the life of Eva Perón.Having successfully launched their previous show, Jesus Christ Superstar, on record in 1970, Lloyd Webber and Rice returned to the format for Evita.
In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". [1] The earliest known examples of this procedure (sometimes referred to as ''adaptation'') date back to the 9th century used in connection with Gregorian chant.