" Don't Cry for Me Argentina " is a song recorded by Julie Covington for the 1976 concept album Evita, which was 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 studied the life of Eva Perón, a leader from Argentina. It appears at the start of the first and second acts of the musical, as well as near the end. During the musical, the song is performed by the spirit of Eva Perón, who encourages the people of Argentina not to grieve for her, during a speech she gives from the balcony of the Casa Rosada, and during her final broadcast.
The Evita album took 3–4 months to record because Tim Rice wanted the recordings to have more intensity. The song had several different names before "Don't Cry for Me Argentina" was chosen. The song shares its melody with "Oh What a Circus" from the same musical. Its lyrics include general statements that Eva uses to try to gain the support of the people of Argentina. It was released in the United Kingdom on November 12, 1976, as the first single from the album. The release included advertisements, posters, display sleeves, and radio interviews.
The song reached number one on the UK Singles Chart and received a gold certification from the British Phonographic Industry (BPI) after selling over a million copies. It also reached the top of the charts in Australia, Belgium, Ireland, New Zealand, and the Netherlands. The song was praised by critics, and Rice and Lloyd Webber won the 1977 Ivor Novello Award for Best Song Musically and Lyrically. When the musical Evita moved to a London theater, Covington, who had grown unhappy with the project, refused to perform the role of Eva again. Elaine Paige took over the role instead.
The song has been performed by many 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 show Glee. In 1996, American singer Madonna played the role of Eva in the film version of the musical and recorded her own version of the song. Her version was released as the second single from the film’s soundtrack on December 16, 1996. Music critics praised her vocal performance. A version called the "Miami Mix" was promoted on the radio. It included re-recorded vocals in English and Spanish, as well as music from an Argentinian bandoneon. Madonna’s version reached number one on the European Hot 100 Singles chart and topped the charts in the Czech Republic, France, Hungary, and Spain. It also became a top-ten hit on the US Billboard Hot 100 and reached gold or platinum status in six countries worldwide.
Background and development
The song "Don't Cry for Me Argentina" was written by Andrew Lloyd Webber and Tim Rice in 1976 while they were creating the musical Evita. Both were very interested in learning about the life of Eva Perón during their research in the mid-1970s. Evita was first released as an album before being adapted for the stage, using a method similar to the one they used for their earlier musical, Jesus Christ Superstar. The song was written for a female singer with strong vocal abilities.
During their research, Lloyd Webber and Rice discovered that Eva Perón did not actually give a major speech on the day her husband, Juan Perón, became president. However, after becoming Argentina’s First Lady, she began delivering emotional speeches. The song was created to reflect the intensity of these speeches. It was performed at the beginning and near the end of the musical. At first, it was sung by the spirit of the deceased Eva, encouraging people not to mourn her. Later, it was performed during a speech Eva gave from the balcony of Casa Rosada. The song’s melody is similar to the opening song of the musical, "Oh What a Circus," which focuses on Eva’s funeral. "Oh What a Circus" ends with a character named Che asking mocking questions about the mourning, while "Don't Cry for Me Argentina" begins with only a few lines sung, with the rest saved for the final performance.
After writing the song, Lloyd Webber and Rice had difficulty finding a suitable actress for the role. Their only known choice, Yvonne Elliman, had moved to the United States. While watching the British musical television show Rock Follies, they noticed Julie Covington, an actress and singer who played a rock musician. Covington had previously performed in London musicals like Godspell, and her acting in Rock Follies convinced the writers to cast her in Evita.
Covington was very interested in the project, even though she thought Eva Perón’s story was unusual for a musical. However, she believed the songs were well-written and agreed to record them. Lloyd Webber and Rice immediately began recording, with the first demos including "Don't Cry for Me Argentina," "I'd Be Surprisingly Good for You," and "Buenos Aires," accompanied only by piano. They signed a deal with MCA Records to release an album based on the songs, but the record company offered very low royalty rates because they did not expect the album to be successful. At the same time, other singers for the musical were cast, and the cast began recording at Olympic Studios in 1975.
Recording and composition
The people who worked 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 the harp, and Anthony Bowles led the London Philharmonic Orchestra. A choir called the London Boy Singles was directed by Alan Doggett. Members of The Grease Band, such as bassist Alan Spenner and rhythm guitarist Neil Hubbard, also contributed. It took about 3 to 4 months to complete the recording.
The song required a strong emotional tone, but it was difficult to achieve at first because it was a sentimental ballad with complex lyrics. As the deadline approached, the team felt pressure because most of the album was finished, but this song was still incomplete. They struggled to choose a final title, and Rice tried names that did not fit the political and dramatic themes of the story. Earlier, they had tested lyrics like "It's Only Your Lover Returning" and "All Through My Crazy and Wild Days," but worried that mentioning Argentina might reduce the song's appeal. Rice later said this decision hurt the song and the show. Covington had already recorded the line "Don't Cry for Me Argentina" for the beginning of the show. Shortly before the album was mixed, Lloyd Webber suggested using the line as the title of Eva's speech. Once the new title was used, the song matched the mood of the scene perfectly and was added to the album.
The song's title comes from an epitaph on a plaque at Eva Perón's grave in the La Recoleta Cemetery in Buenos Aires. The plaque was given by the city's taxi drivers' union and translates to: "Don't cry for me Argentina, I remain quite near to you." Roger Ebert of the Chicago Sun-Times wrote that the song's title explains why the audience should not cry: (1) Evita achieved everything she wanted in life, and (2) Argentina should feel sadness for itself. Rice described the song's lyrics as "a string of meaningless platitudes" and said they fit the character of a "megalomaniac woman" trying to gain favor from the Argentines. The lyrics include: "And as for fortune, and as for fame / I never invited them in / Though it seemed to the world they were all I desired / They are illusions."
Lloyd Webber's orchestral music added depth to the track, with plucked strings and a flowing rhythm that introduced Covington's opening vocals. The song shifts from light and simple to heavy and grand, with a section where choral voices hum. As the final lyrics are sung—“But all you have to do is look at me to know / That every word is true”—the London Philharmonic Orchestra joins with a powerful climax. According to the sheet music published by Music Sales Group, the song begins with a sequence of G/D–A 7 /D–D–Bm/D, changes to E–E/D–A/C♯–E 7 –A–D, and the chorus uses a chord progression of A–Bm–Dmaj 7 –Gmaj 7 –G–F♯m 7 . The song is written in the key of D♭ major, with Covington's vocals ranging from G♯3 to C♯5. John Snelson noted that the song is based on J.S. Bach's Prelude in C Major and Gounod's Ave Maria adaptation.
Release and reception
"Evita" was created as a stage musical. The song "Don't Cry for Me Argentina" was written specifically for a key moment in the show. However, its popularity outside the theatre was unexpected. The song was 6 minutes long, included a 1-minute instrumental by the London Symphony Orchestra, and Julie Covington, the singer, did not support its promotion. Despite this, the song reached number one on the disco chart, which surprised many. A friend who was a DJ explained that DJs played the song to clear the dance floor, which contributed to its success.
After the album was recorded, the "Evita" team focused on promoting the release. Photographer Tony Snowdon took pictures for the campaign. The single version of "Don't Cry for Me Argentina" was released in the United Kingdom on November 12, 1976. It was supported by advertisements, posters, radio interviews, and a B-side song called "Rainbow High." MCA's marketing manager, Stuart Watson, stated their goal was to share the story of Eva Perón with the public.
The song received praise, including a "masterpiece" label from The Sunday Times. However, Andrew Lloyd Webber and Tim Rice believed more promotion was needed to reach a wider audience. They planned television appearances, but Covington refused to participate. She wanted to perform the song with the same studio orchestra and opposed releasing it as a single.
The song was never performed live on the British music show Top of the Pops because Covington declined. When the song was featured on the show, images of the real Eva Perón were shown in the background. During the week it reached number one, Covington appeared in the audience. Lloyd Webber and Rice then targeted BBC Radio 1, but the station initially refused to play the song. They considered releasing another track from Evita, "Another Suitcase in Another Hall," by Barbara Dickson, as a second single. However, Radio 1 eventually agreed to play the song after positive audience reactions.
"Don't Cry for Me Argentina" debuted at number 37 on the UK Singles Chart for the week ending December 25, 1976. It climbed the chart but was blocked from reaching number one for three weeks by David Soul's "Don't Give Up on Us." On February 12, 1977, the song reached the top of the charts. It was certified silver in January 1977 and gold the following month by the British Phonographic Industry (BPI), selling nearly one million physical copies in the UK. Including digital sales, it has sold about 1.01 million copies, according to the Official Charts Company.
The single also reached number one in Australia, Belgium, Ireland, New Zealand, and the Netherlands. In the Netherlands, it sold approximately 100,000 copies. After its success, Lloyd Webber and Rice promoted the song in the United States. However, MCA Records' US team struggled to decide how to market the song, which was focused on adult contemporary music. The song was never sent to Top 40/CHR radio and did not appear on any US charts.
Aftermath and impact
When the cast for the London version of the musical Evita was being chosen, Rice and Lloyd Webber naturally asked Covington to play the main role. However, she decided not to take the role again. Producer Hal Prince wanted to cast an actress who was not well known to play Eva, so Elaine Paige was chosen for the part. In 1977, Rice and Lloyd Webber received the Ivor Novello award for Best Song Musically and Lyrically.
During the 1982 Falklands War between the United Kingdom and Argentina, British soldiers sometimes played the song in a mocking way as they went to the Falklands. They changed the lyrics to: "You don't frighten me Argentina / The truth 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 not allowed to be played on the BBC. In the Philippines, the musical was not allowed to be performed during the dictatorship (1972–86) of President Ferdinand Marcos because people thought Imelda Marcos was similar to Eva Perón. In the United States, the song is also closely connected to Patti LuPone, who played Eva in the original Broadway version of the show.
Track listing and formats
- 7-inch single
- "Don't Cry for Me Argentina" – 5:24
- "Rainbow High" – 2:31
- 7-inch Double hit single
- "Don't Cry for Me Argentina" – 5:23
- " I Don't Know How to Love Him " (Performed by Yvonne Elliman) – 3:55
- 7-inch Old Gold single
- "Don't Cry for Me Argentina" – 5:24
- " Another Suitcase in Another Hall " (Performed by Barbara Dickson) – 3:00
Madonna version
In 1996, Madonna appeared in the movie Evita, where she played the main character, Eva Perón. For many years, Madonna wanted to portray Eva and even wrote a letter to the film’s director, Alan Parker, explaining why she believed she was the best choice for the role. After being cast, she trained her voice with a coach named Joan Lader because the movie required actors to sing their own parts. Lader said that Madonna had to use her voice in new ways, as Evita is a musical theater style that is similar to opera. Madonna discovered she could sing in a higher range than she had before.
From the start of filming, Madonna wanted to create a dance version of the song “Don’t Cry for Me Argentina.” Her publicist, Liz Rosenberg, explained that Madonna wanted to record the song herself, even though she did not write the music or lyrics. She believed the best way to do this was to work with remixers in a studio.
In August 1996, while still working on the film’s soundtrack, Madonna hired remixers Pablo Flores and Javier Garza to create a new version of the song. Flores said Madonna wanted the remix to be danceable, true to the movie, and include Latin music elements. Madonna also wanted the remix to have a Latin feel and include Tango music. The remix was completed in two weeks in Miami and Los Angeles. Madonna re-recorded the song in both English and Spanish, and a traditional Argentine instrument called a bandoneon was added to the beginning of the track. This version, called the “Miami Mix,” was sent to radio stations and DJs in late December 1996. The song was officially released as the soundtrack’s second single on December 16, 1996, in the United Kingdom, and on February 11, 1997, in the United States.
Barney Kilpatrick, a Warner Bros. Records official, said the remix was made to help the song succeed on Top 40 radio. He added that the record company wanted to promote the film, not just the single. There were also plans to release an Evita EP with remixes of other songs, but this idea was never completed.
The recording sessions for the film’s music began in September 1995 at CTS Studios in London. Madonna was joined by co-stars Antonio Banderas and Jonathan Pryce. However, she faced challenges because she was not used to singing with a full 84-piece orchestra in the same room. She preferred singing over pre-recorded music and had little control over the project. She said working on 46 songs with many people involved and not having much say was a big change for her. An emergency meeting was held between Parker, Andrew Lloyd Webber, and Madonna. They decided she would record her parts in a different studio while the orchestra would work elsewhere. She also had days off during the recording process.
Madonna said she was very nervous on the first day of recording. She described feeling “petrified” when she sang “Don’t Cry for Me Argentina” in front of Andrew Lloyd Webber. She said she was so upset afterward that she thought she had performed poorly. The final version of the song was similar to the original but had a faster pace and was made as an orchestral pop song to fit modern music trends. According to sheet music from Musicnotes.com, Madonna’s version of the song is in common time and has a slow groove tempo of 90 beats per minute. Her vocal range on the song spans from G3 to C5.
When the song was released, it received mostly positive reviews. J.D. Considine of The Baltimore Sun called it one of the “big songs” from the soundtrack. Peter Keough of The Boston Phoenix praised Madonna’s “stunning delivery” and said her voice showed Evita’s quiet strength. Greg Kot of The Chicago Tribune said Madonna’s version was not trying to outdo previous versions but instead brought the song back to a more personal style. Robert Christgau of The Village Voice called it a “dismal track” and criticized the mixing. Chuck Arnold of Entertainment Weekly said Madonna’s version was credible but not as memorable as Patti Lupone’s.
Other reviews were mixed. The Guardian’s Jude Rogers said the song was not as powerful as Madonna’s “Live to Tell” but praised her singing. The Hartford Courant’s Greg Morago called the song a “calculated, theatrical triumph” that showed Madonna’s rise to fame. The Huffington Post’s Matthew Jacobs said the song marked a key moment in Madonna’s career, showing her shift from a “sexy” image to a more mature one. The Los Angeles Times’ David Gritten said Madonna’s performance of “Don’t Cry for Me Argentina” sounded natural and comfortable.
A reviewer from Music Week gave the song five out of five stars, calling it a strong and faithful version of the song. The New York Times’ Janet Maslin said the track was “tinglingly sung.” However, NME’s Alex Needham criticized the song, comparing Madonna to a character from the movie Sunset Boulevard and saying the song was not good. Lucy O’Brien, in her book Madonna: Like an Icon, said Madonna’s version lacked emotional depth but was still compelling. The Reading Eagle’s George Hatza praised Madonna’s “beautiful, soaring” voice. Rolling Stone’s Peter Travers said Madonna gave a strong performance, even singing and dancing. Slant Magazine’s Sal Cinquemani called the song one of Madonna’s greatest vocal performances, saying it was both loyal to the original and unique. Spin’s Annie Zaleski said the song marked the start of Madonna’s more serious phase, where she balanced youthfulness with maturity. Madonna: An Intimate Biography’s J. Randy Taraborrelli said Madonna’s performance as Evita was strong and natural.
The song was nominated for inclusion in AFI’s 100 Years…100 Songs. AllMusic’s Jose F. Promis praised the “Miami Mix” version, saying it turned the song into a passionate dance number. In 2017, Billboard ranked the “Miami Mix” as the 95th greatest pop song of 1997.
Other versions
The song "Don't Cry for Me Argentina" has been performed by many actors who played Eva Perón in different versions of the musical Evita. These include Elaine Paige (1978 London cast), Patti LuPone (1979 Broadway cast), Elena Roger (2006 London and 2014 Broadway casts), and Rachel Zegler (2025 London cast). Marti Webb, who took over from Elaine Paige in the original London production, recorded the song on her 1981 album Won't Change Places, produced by Andrew Lloyd Webber. She also included it on her 1995 album Music and Songs from Evita. AllMusic's Joe Francis praised her recording.
The Carpenters included the song on their 1977 album Passage, paired with "On the Balcony of the Casa Rosada," which appears earlier in the musical. In 1977, Olivia Newton-John released the song as a single from her album Making a Good Thing Better. In 1978, The Shadows recorded an instrumental version that reached number five on the UK Singles Chart. That same year, Shirley Bassey included the song on her album The Magic Is You. Simon Gage from The Daily Express praised Bassey's version, saying she "more than covers the ground" with it. Bassey recorded the song again in 1993 for her album Sings the Songs of Andrew Lloyd Webber.
Tom Jones's version of the song on his 1979 album Rescue Me received poor reviews. Biographer Lucy Ellis called it "the most ludicrous massacre on the LP." In 1979, American disco group Festival (produced by Boris Midney) released a version as a single from an album of disco covers of Evita songs. The single reached number 72 on the Billboard Hot 100. In 1980, Paloma San Basilio performed the song while playing the title role in the Spanish version of the musical. Nacha Guevara, who also starred in the musical in 1986, has performed the song live multiple times.
Singer Sinéad O'Connor included the song on her 1992 album Am I Not Your Girl?. Her version received mixed reviews. Joy Press from Spin described it as "a melodramatic, sweeping 'Je ne regrette rien'-style apologia." The song was released as a CD maxi single and reached number 31 in Belgium Flanders and number 44 in the Netherlands. In 1996, The Mike Flowers Pops released an easy listening version that reached number 30 on the UK Singles Chart. In 1999, alternative band Me First and the Gimme Gimmes recorded a punk rock version for their album Are a Drag. Angus Cargill, author of Hang the DJ: An alternative book of music lists, was surprised by the punk rock version, calling it "a dark appeal, like the thought of taking a cattle prod to your grandma's." An unidentified piano version of the song was used as an identifier for V19, a numbers station of unknown origin. An audio recording from the station, titled "Whiskey Tango Viente Y Uno" after its callsign, is included in The Conet Project.
Julian Lloyd Webber, the younger brother of Andrew Lloyd Webber and a cellist, included the song on his 2001 album Lloyd Webber Plays Lloyd Webber. In 2010, actors Lea Michele and Chris Colfer from the TV series Glee performed the song as a duet, with each singer taking a different stanza and performing before different audiences in split scenes. Their solo versions were included on Glee: The Music, The Complete Season Two and reached number 67 in the UK and number 97 in the US. Multinational quartet Il Divo included the song on their 2011 album Wicked Game and performed it live on tours. Ben Walsh from The Independent said their voices were well-suited for songs like "Don't Cry for Me Argentina." Nicole Scherzinger performed the song live at the Andrew Lloyd Webber: 40 Musical Years tribute show. Louis Virtel from The Backlot praised her performance, saying it "has to be seen to be believed, as Scherzinger's crystal-clear vocal soars like a glittery javelin."