and an Argentinean bandoneon in the song's intro, was promoted to radio. Madonna's vocals received positive critical response and the song reached the top-ten of the charts a number of nations, including the US Billboard Hot 100 chart, and received gold certifications from five of them. "Another Suitcase in Another Hall" was the third and final single released on March 18, 1997. Upon its release, the song reached the top ten of the charts in the United Kingdom. The track "Buenos Aires" received remix treatment from DJ duo Pablo Flores-Javier Garza. Warner Bros. was initially reluctant to release the remixes, but decided to finally release it to coincide with the home video release of Evita the film. Flores and Garza kept the Latin composition of the track, while "flattening" the groove to make it suitable for playing in dance floors. They also added live percussion and keyboard lines to the remix. Larry Flick from Billboard commented that "Buenos Aires" displayed Madonna's "increased comfort and dexterity as a stylist". Following its promotional release in October 1997, "Buenos Aires" peaked at number three on the Billboard Dance Club Songs chart. Critical reception Evita has received generally mixed reviews from music critics. The staff of Music Week called the soundtrack a "well-arranged album". Anthony Violanti from The Buffalo News deemed the album a "bold move" and "sign of artistic maturity for Madonna." He noted that although she lacked musical theater experience, Madonna "displays a broad vocal range and, though it may be hard for those who remember 'Like a Virgin' to believe, an operatic sensibility." J. Randy Taraborrelli, author of Madonna: An Intimate Biography, felt that Madonna's singing sounded "supple and strong", and believed her to be not "at all out of place". Jim Farber from Entertainment Weekly praised Madonna's performance on the album, writing: "Aided by impeccable orchestrations (and some coaching), her vocals are years ahead of anything she'd sung before." Greg Kot from the Chicago Tribune wrote that "the two-CD soundtrack casts Madonna in a new light. To put it simply, the Material Girl can sing. [...] comparing her performance [on the soundtrack] to that of Patti LuPone, one comes away with a new admiration for her vocal skills. In many ways, she does more with less than her predecessor." Authors Allen Metz and Carol Benson wrote in their book The Madonna Companion that the soundtrack gave Madonna "some of the