Author Lucy O'Brien wrote in the book, Madonna: Like an Icon, that although Madonna's vocals lacked emotional complexity in the tune, she nevertheless created a "compelling" version, "right up to its grand orchestral finale". George Hatza from The Reading Eagle, said that "[Madonna] sings 'Don't Cry For Me Argentina' in a beautiful, soaring, goosebump-inducing contralto". Peter Travers from Rolling Stone, wrote: "Madonna, to her credit, puts on quite a show. She sings. She tangos [...] She even belts out 'Don't Cry for Me Argentina' to prove she's just folks". Sal Cinquemani from Slant Magazine commented: "Easily one of Madonna's greatest vocal performances to date, the singer's dramatic interpretation of Evita's unofficial theme song was both loyal and bizarrely autobiographical". Spins Annie Zaleski wrote that the "nuanced but proud" rendition of the song "marked the start of Madonna’s Serious Phase, one where she balanced youthful coquettishness with a more mature, introspective outlook". J. Randy Taraborrelli, author of Madonna: An Intimate Biography, wrote that "As Evita Perón [...] she is supple and strong, and doesn't sound at all out of place". Remix version AllMusic's Jose F. Promis praised the "Miami Mix" version of the song; "['Don't Cry For Me Argentina'] was transformed into a passionate, flowing dance number", highlighting Madonna's "truly impassioned performance which infuriated musical purists but delighted her fans and public alike". In 2017, Billboard ranked the "Miami Mix" as the 95th greatest pop song of 1997; Andrew Unterberger wrote that the remix "is just as responsible for the song's chart success as Madonna's Celine Dion vocal ambitions, taking the song from the balcony to the dance floor and giving it back to the people". In 2018, the same magazine called the remix "a weirdly enjoyable menage à trois between Broadway, Latin and club music, with a pounding beat and lively tango that flourishes with Madonna’s earnest delivery". Similarly, Medium's Richard LaBeau deemed the remix "bizarre in theory but works terrifically in execution". Chart performance In the United States, the popularity of the "Miami Mix" version of the song enabled it to become the song with the most radio adds, and jumped to number 18 on the Hot 100 Airplay chart. Demand for the song continued to increase forcing Warner Bros. to release the CD single, and the song becoming eligible to chart. It debuted on the Billboard Hot 100 at number 17 the week of 22 February 1997, selling