vocals on the song span from G3 to C5. The song follows a basic sequence of C–F–C when Madonna sings "It won't be easy, you'll think it strange", and changes to G7–C on the second verse. Critical reception Original version Upon release, the song generally received positive feedback. J. D. Considine, from The Baltimore Sun, said it was one of the "big songs" from the soundtrack. Peter Keough, from the Boston Phoenix, praised Madonna's "stunning delivery" of the track. He wrote: "[Madonna] sings a softly lush soprano that captures Evita's quiet vulnerability. Her full-lipped, precise notes stride across the song's grandiose orchestrations. Webber's songs allow her all the room she needs to be many things; she succeeds at them all". Greg Kot from the Chicago Tribune, opined that "her interpretation of the show-stopper 'Don't Cry for Me Argentina' doesn't try to outreach the many previous versions, but instead brings it back to earth with a low-key dignity". Robert Christgau called it a "dismal track" and criticized its mixing. Writing for Entertainment Weekly, Chuck Arnold opined that "while credible, [Madonna's rendition] was not going to make anybody forget Patti Lupone". The Guardians Jude Rogers wrote: "Sorry Andrew Lloyd Webber, but it's no 'Live to Tell'"; nonetheless, she praised the singer's vocal capacities. A very positive review came from the Hartford Courants Greg Morago, who called the song "a calculated, theatrical triumph of shameless pandering and steely determination that parallels the pop diva's own rise to the top. Madonna makes this song her own; she was born to play the chignon-coiffed, diamond-studded Santa Evita". The Huffington Posts Matthew Jacobs considered it as one of Madonna's most important songs, a "stand-in for the transition from Sexy Madonna to Adult Madonna". Writing for the Los Angeles Times, David Gritten opined that "show-stoppers like 'Don't Cry for Me Argentina', which need to be belted out, sound comfortable for her". A reviewer from Music Week rated it five out of five, calling it "a strong and fairly faithful rendition". In her review of Evita, Janet Maslin from The New York Times commented that the track was "tinglingly sung". A negative review came from NMEs Alex Needham, who wrote; "by 1996 Madonna was fast turning into the pop equivalent of Sunset Boulevards Norma Desmond, croaking, 'I'm still big! It's just the Top 40 that got small!", and that "Don't Cry For Me Argentina' stank then, stinks now".