Montreux, Switzerland

Set List - July 8, 2008

Per Anth on The Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
Hey That's No Way To Say Goodbye
Anthem

Second Set

Tower Of Song
Suzanne
Gypsy Wife
Boogie Street
Hallelujah
Democracy
I'm Your Man
A Thousand Kisses Deep (recited)
Take This Waltz

First Encore

So Long, Marianne
First We Take Manhattan

Second Encore

Sisters of Mercy
If It Be Your Will
Closing Time

Final Encore

I Tried to Leave You
Whither Thou Goest











Montreux, Switzerland

Photos

  
AP Photo/Keystone/Laurent Gillieron


AP Photo/Keystone/Laurent Gillieron


AP Photo/Keystone/Laurent Gillieron


Reuters/Denis Balibouse (Switzerland)


Reuters/Denis Balibouse (Switzerland)


Reuters/Denis Balibouse (Switzerland)


Reuters/Denis Balibouse (Switzerland)


Reuters/Denis Balibouse (Switzerland)


Reuters/Denis Balibouse (Switzerland)


AFP/File/Ben Stansall













Montreux, Switzerland

Photos from Montreux Jazz Festival site

  
© Lionel Flusin © Montreux Jazz Festival Foundation Leonard Cohen


© Lionel Flusin © Montreux Jazz Festival Foundation Leonard Cohen


© Lionel Flusin © Montreux Jazz Festival Foundation Leonard Cohen


© Lionel Flusin © Montreux Jazz Festival Foundation Leonard Cohen













Montreux, Switzerland

ENGLISH VERSION.

Leonard Cohen á Montreux, le temps suspendu

SwissInfo - July 9, 2008 by Bernard Léchot

Le chanteur et écrivain canadien a donné son unique concert en Suisse mardi soir, dans le cadre du Montreux Jazz Festival, avec á ses côtés la chanteuse Sharon Robinson. Un moment rare, vécu par une salle offerte et subjuguée. Un chapeau mou cache ses yeux. Mais il le soulève á chaque fois qu'il remercie le public. Et si le costume sombre est élégant, il semble presque trop grand pour lui. Une silhouette d'éternel émigrant.

Un émigrant qui porterait en lui á la fois le Nord (le Canada où il est né), l'Est (ses racines familiales), le Sud (la couleur apportée par l'omniprésence du musicien Javier Mas) et l'Ouest (la Terre promise du Nouveau Monde).

Dès les premières notes de «Dance me to the End of Love», le public est embarqué á bord du bateau Cohen. La traversée sera longue et belle. Leonard Cohen est accompagné de six musiciens, qui loin de l'emmener sur les rives de la surcharge instrumentale, soulignent en permanence l'intimité de l'univers du chanteur. Chaque instrument est mis en valeur, chaque note á sa raison d'être et brille parmi les autres.

A cela s'ajoutent trois choristes parfaites, les voix féminines hantant ses musiques autant que les femmes hantent ses textes, de son premier á son dernier album.

Alors, traversant les décennies, on vogue au gré des récentes et magnifiques «In My Secret Life» ou «Boogie Street» pour plonger dans ces perles de nostalgie que sont aujourd'hui «Bird On The Wire», «Suzanne», «Hey, That's No Way To Say Goodbye» ou «Who By Fire». En passant par les couleurs intermédiaires que représentent le poignant et illuminé «Hallelujah», «First We Take Manhattan» ou «Everybody Knows».

Le mystère des mots
La foule des aficionados connaît l'æuvre, connaît les mots, chante avec lui, et pourtant, qui comprend réellement le sens de toutes les chansons de Cohen? Peu avant le concert, nous avons posé la question á Sharon Robinson, choriste sur cette tournée, mais surtout collaboratrice de longue date du chanteur - elle a notamment cosigné et arrangé tout l'album «Ten New Songs».

«Je crois que c'est pour eux comme pour moi: un processus continu de découverte, quelle que soit la langue qu'on parle, quoi qu'on ait initialement compris... Leonard a une façon d'écrire qui fait qu'il y a toujours quelque chose qui résonne, quelque chose á creuser. La compréhension de ses chansons se fait dans la durée. C'est sans doute l'une des raisons qui explique que son æuvre traverse le temps», répond-elle.

Lorsque Sharon Robinson travaille sur l'un des textes de Cohen, arrive-t-il qu'elle lui avoue ne pas tout saisir? «J'essaie de comprendre par moi-même, je ne sais pas pourquoi, mais c'est important! Mais si je n'y arrive pas, je lui pose parfois la question», répond-elle en souriant.

Et quelle est alors la réaction de Cohen? Sharon Robinson éclate de rire: «En principe, il répond par un gag! Un jour, je lui ai demandé ce que signifiait 'from the horse's mouth'. Il m'a répondu: si je trouve ce cheval, je te le dirai! Non, en fait, il n'hésite pas á donner des explications, souvent très profondes... et qui prennent du temps!»

Qualité d'émotion
Sharon Robinson a participé comme choriste á la tournée baptisée «Field Commander Cohen» en 1979-80. Le plaisir, l'émotion sont-ils les mêmes aujourd'hui? «Je crois que c'est encore plus fort. En particulier grâce au public, l'excitation, l'émotion ambiantes. Les gens goûtent vraiment á ce moment, parce que Leonard est lá, et que ce sera sans doute la dernière fois qu'ils le verront. Oui, il y a vraiment un enthousiasme encore supérieur cette fois-ci», dit-elle.

A voir l'attente qui précédait ce concert - puis la ferveur qui l'a accompagné - il est évident que Cohen est devenu une légende vivante, presque un messie dont ce serait lá le grand et ultime retour. «C'est vrai, les gens réagissent comme si Leonard Cohen était une sorte de compagnon 'spirituel' pour eux - même si je n'aime pas ce mot. Disons que, pou moi et pour beaucoup d'autres, il est devenu á travers son travail une sorte de 'compagnon d'âme'», constate Sharon Robinson.

Révélation
Oubliés les prix prohibitifs de cette tournée. C'est bel et bien la générosité et le rayonnement de l'homme que retiendra le public. Car au-delá de son image de poète taciturne, Cohen apparaît chaleureux, souriant, charmeur - ce charme un peu désespéré qui touche si fort.

Et lorsqu'il se laisse emporter, noyer, par la beauté des voix de ses choristes, il évoque soudain ses interrogations philosophiques et religieuses pour conclure: «Mais ce soir, j'ai une révélation: la réponse est lá, dans ce 'dou dou da da dou'!» Et il n'est pas impossible que Cohen, éternellement tiraillé entre son rêve de pureté et sa sensualité avouée, le pense vraiment.

Un rappel, puis deux, puis trois... Au quatrième, Cohen commence par dire le texte de «If It Be Your Will», qu'il laisse ensuite chanter par deux de ses choristes, Charley et Hattie Webb. Lui, se retire humblement dans l'ombre et les écoute. Instant magique, aussi fort que quand le chanteur interprète lui-même ses æuvres. Leonard Cohen avalé par l'obscurité, d'autres voix qui portent ses mots, c'est á l'immortalité de ses chansons qu'il assiste.

Mais comme l'homme ne manque pas d'humour, c'est sur un très bluesy «I Tried To Leave You» qu'il viendra faire son dernier tour de piste.

«Goodnight, my darling, I hope you're satisfied,
the bed is kind of narrow, but my arms are open wide.
And here's a man still working for your smile.»








Leonard Cohen in Montreux, time suspended

SwissInfo - July 9, 2008 by Bernard Léchot

On Tuesday evening the Canadian singer and writer gave his only concert in Switzerland, at the Montreux Jazz Festival, with his female vocalists, including the singer Sharon Robinson.

A rare occasion, witnessed by a supportive, adoring audience. His eyes are hidden by a fedora. But he lifts it each time he thanks the audience. His dark suit is elegant; it seems almost too big for him. He has the build of an Eternal Traveller.


A Traveller who seems to embody, simultaneously, the North ( Canada, where he was born ), the East ( his family roots ), the South ( the colour added by the omnipresence of the musician Javier Mas ), and the West ( the Promised Land of the New World ).

Right from the first notes of " Dance Me To The End Of Love " the public went on board a boat named Cohen. The trip would be long and beautiful. Leonard Cohen is accompanied by six musicians who, far from overdoing his sound, always emphasise the intimacy of the singer's universe. Each instrument is acknowledged, each note has its purpose and shines among the others.

Added to this are three perfect female vocalists; haunting feminine voices are there in his lyrics from his first to his latest album.

So, passing through the decades, we drift, drawn along by stunning, magnificent songs like "In My Secret Life" and "Boogie Street"; plunging into " Bird On A Wire ", "Suzanne", "Hey, That's No Way To Say Goodbye" and "Who By Fire", which are pearls of nostalgia today. And passing by intermediary colours on the way, represented by the poignant and enlightening "Hallelujah", "First We Take Manhattan" and "Everybody Knows".

The Mystery Of Words.
The crowd of fans know the work, know the words, sing with him; and yet: who truly understands the meaning of all of Cohen's songs? Shortly before the concert, we put this question to Sharon Robinson, a female vocalist on this tour, but more importantly, Cohen's long-time collaborator; and in fact she co-wrote and arranged the entire album " Ten New Songs".

"I think that for them, as for me, it is a continuous process of discovery, whatever language one speaks, whatever one may have understood initially. Leonard has a way of writing which means that there is always something amazing, something to search out. Understanding his songs comes with time. That is definitely one of the reasons why his work is timeless ", she replies.

When Sharon Robinson works on a text by Cohen, does she at times have to admit that she can't completely understand it?

"I try to understand it by myself. I don't know why, but this is important! But if I can't manage to do so, I will ask him," she says, smiling.

Sharon Robinson bursts out laughing. " Usually, he responds with a joke ! I asked him the meaning of " from the horse's mouth". He replied, "If I find that horse, I will tell you!". No, in fact, he does give explanations, often very profound and lengthy."

Quality Of Emotion
Sharon Robinson took part, as a background vocalist, in the tour of 1979-80, known as "Field Commander Cohen". Is the pleasure and the emotion the same today?

"I think they are even stronger. Especially thanks to the public...the excitement, the emotional ambience. People are really drinking in this experience, because Leonard is there and it will probably be the last time they will see him. Yes, there is definitely even stronger enthusiasm this time," she says.

To see the expectation that preceded the concert - then the fervour that has accompanied it - it is clear that Cohen has become a living legend, almost a messianic figure on his wonderful final comeback tour.

"It's true, the people are reacting as if Leonard were a kind of "spiritual companion" to them, but I don't like that word "spiritual". Let's just say that for me and many others, through his work he has become a kind of soulmate", says Sharon Robinson.

Revelation
Forget about the prohibitive prices for this tour. It is definitely the generosity and radiance of the man that the public will remember. For beyond his image as a taciturn poet, Cohen is seen to be a warm, smiling, charming man with great impact.

And when he allows himself to be carried away, as it were, drowning in the beauty of his female vocalists' voices, he suddenly refers to his religious philosophy to conclude: " But tonight, I have a revelation. The answer is all in the " doo doo da da doo". And it seems he is eternally torn between his dream of purity and his sensuality. I really think so.

One encore, then two, then three. At the fourth, Cohen starts by reciting the text of " If It Be Thy Will", which is then performed by two of his female vocalists, Charlie and Hattie Webb. He withdraws humbly into the shadows and listens. Instant magic, as strong as when the singer himself interprets his works. Leonard Cohen is swallowed up in darkness, while other voices carry the immortality of his words in his presence.

But the man is not without a sense of humour; the concert ends on a bluesy note with " I Tried To Leave You" .

"Goodnight my darling, I hope you're satisfied
The bed is kind of narrow, but my ams are open wide
And here's a man still working for your smile".


Thanks to Sasha K. for providing the translation from French of this article.











Montreux, Switzerland

ENGLISH VERSION.

Cohen fait danser les couleurs de l'ombre et des étincelles

24heures - July 9, 2008 by Michel Caspary

MONTREUX JAZZ | 00h48 Le poète juif montréalais revenait au festival après vingt-trois ans d'absence. Premières impressions, á l'entracte, d'un concert enjoué et mélancolique.

Fauché, mais généreux. Leonard Cohen, dit-on, revient á la scène pour renflouer sa caisse, ayant été floué par son ancien gérant de fortune. Des millions partis en fumée. A le voir hier soir débouler sur la scène du Stravinski, le pas guilleret, le sourire éclatant, on a peine á croire que l'argent soit sa seule motivation. Du plaisir il a, c'est évident, á repartir en tournée et partager ce répertoire si majestueux, pour ne pas dire mythique. Chemise crème, costard et chapeau foncés: Cohen a l'élégance racée, comme d'habitude. Tout le groupe a le même look ou presque, á la Blues Brothers, lunettes noires en moins. En moins déjanté également.

Choristes á la fête
Pas de concert du séducteur allégorique sans choristes: elles sont trois, omniprésentes sur les dix chansons de cette première partie, introduite par un enjoué Dance me to the end of love. Au début de chaque solo et á la fin de chaque chanson, Cohen enlève son chapeau, respectueusement, saluant même les membres de son groupe d'une révérence classieuse, et de même le public, sous le charme, comme envoûté le plus souvent. Sa voix profonde, faite de craie et de soie, a gardé toute sa suavité, toute sa fluidité, toute sa clarté. Cohen fait toujours danser les couleurs de l'ombre et des étincelles avec la même gravité, la même légèreté. La suite demain.










Cohen makes the colors of shadows and sparks dance

24heures - July 9, 2008 by Michel Caspary

MONTREUX JAZZ | 00h48 The Jewish poet from Montreal was returning to the Festival after a 23-year absence. First impressions, during the intermission, of a lively and heartrending concert.

Broke, but generous. They say Leonard Cohen is back on stage to make some money, having had his fortune ripped off by his former manager. Millions disappeared. To see him performing last night, bounding onto the stage at the Stravinski, with a lively step and a radiant smile, it is hard to believe money is his sole motivation. It's clear he takes pleasure in being on tour again, sharing that repertoire which is so majestic, not to say mythical.. Cream shirt, dark suit and hat, Cohen has natural elegance, as usual. The whole group has the same look, or close to it, like the Blues Brothers minus the dark glasses. More grounded, too.

There wouldn't be a concert from the famous seducer without female background vocalists; there are three, onmnipresent in the ten songs of the first set, introduced by a sprightly " Dance Me To The End Of Love". At the start of each solo and at the end of each song, Cohen doffs his hat respectfully, even greeting the members of his group with a classy bow, and the same to the audience, who are charmed by him, and most of the time, spellbound. His deep voice of chalk and silk has retained all its suaveness, all its fluidity, all its clarity. Cohen always makes the colors of shadows and sparks dance with the same gravity, the same lightness.



Thanks to Sasha K for providing the clipping and translating this article.









Montreux, Switzerland

ENGLISH VERSION.

Le triomphe montreusien de Leonard Cohen

tsr.ch - July 8, 2008

Leonard Cohen a enchanté 2800 personnes mardi soir au Festival de jazz de Montreux (VD). De sa voix grave et envoûtante, le poète et chanteur canadien a égrené les classiques de son répertoire folk et nostalgique.

Une ovation l'a accueilli quand il s'est avancé sur scène vêtu d'un costume noir et portant un chapeau sur la tête. Les spectateurs ont longuement salué cet artiste de presque 74 ans pour ces retrouvailles: il n'avait plus chanté en public depuis quinze ans.

Visage souriant, Léonard Cohen a d'emblée remercié le public en soulevant son chapeau comme il le fera á plusieurs reprises durant la soirée. Il a entamé son récital avec l'entêtant "Dance me to the end of Love" ("Danse avec moi jusqu'au bout de l'amour") dont le refrain fut repris en choeur par le public.

Pas de remède pour l'amour
Entouré de neuf musiciens dont trois choristes, il a décliné d'une voix sûre et parfois puissante neuf titres durant la première partie de son concert dont "The Future", "Bird on the Wire", "Everybody knows" et "Anthem".

A un moment, il a évoqué son passé, sa dépendance aux tranquillisants et sa quête philosophique. Il a conclu en français: "De mon expérience, je peux dire qu'il n'y a pas de remède pour l'amour" avant d'enchaîner sur la chanson "Ain't no cure for love".

Dans une ambiance recueillie, les spectateurs couvaient des yeux le chanteur. Et si tout le monde ne comprenait pas les paroles, le charme opérait quand même. Il a été très applaudi.






Translated by Google Translate

The triumph of Montreux Leonard Cohen

tsr.ch - July 8, 2008

Leonard Cohen enchanted 2800 people Tuesday night at Jazz Festival in Montreux (VD). From his deep voice and enchanting, the Canadian poet and singer has ginned classics of her repertoire folk and nostalgic.

A standing ovation was greeted when he came forward on stage dressed in a black suit and wearing a hat on his head. Viewers have long acknowledged that artist almost 74 years for this reunion: he no longer had sung in public for fifteen years.

Smiling Face, Leonard Cohen immediately thanked the public by raising his hat as he would several times during the evening. He began his recital with the heady "Dance me to the end of Love" ( "Dance with me until the end of love") whose refrain was picked up in chorus by the public.

No cure for love
Surrounded by nine musicians including three singers, he declined a secure voice and sometimes powerful nine titles during the first part of his concert, including "The Future", "Bird on the Wire," "Everybody knows" and "Anthem".

At one point, he evoked his past, his addiction to tranquilizers and his philosophical quest. He concluded by french: "From my experience, I can say that there is no cure for love" before they move on the song "Is not no cure for love".

In an atmosphere collected, spectators simmering eyes singer. And if everybody did not understand the words, the charm operated anyway. It was very applauded.











Montreux, Switzerland

Leonard Cohen shows Montreux that he's still the man

AFP - July 9, 2008

MONTREUX, Switzerland (AFP) -- Poet-singer Leonard Cohen on Tuesday night won over the Montreux Jazz Festival with his smooth deep voice and dry humour as he made his first appearance at the event for 23 years.

Almost 74 years old, but looking dapper in a pin-striped suit, grey shirt and hat, Cohen joked with the packed hall about his decision to tour again after a long layoff.

"It's been a long time I've stood up on the stage, about 14 years -- I was 60, just a kid with a crazy dream," Cohen said.

"Since then I've taken a lot of Prozac... also studied religion and philosophy, but cheerfulness kept breaking through," he said, drawing laughter from the crowd in a lead up to a song called 'Ain't no cure for love'.

Cohen, in his third appearance at the festival located next to the Lake Leman, performed for almost three hours. His previous performances here were in 1976 and 1985.

He had quit the music scene in the early 1990s, living at a Buddhist monastery in California, where he was ordained a Rinzai Zen Buddhist monk and took the name Jikhan, meaning "silence."

But he was forced to return after being swindled out of his retirement nest egg by his former manager.

On Tuesday, he proved that he had not lost his touch, charming the crowd with the favourites including "Hallelujah", "Suzanne" and "I'm Your Man".

He also showed his political side, singing "Democracy" and "The Future", which criticised social decay.

"Give me back the Berlin wall, give me back Stalin and St Paul. I've look into the future, my brother, it is murder," he sang.

The crowd would not let him leave, so he obliged with several more songs including 'First we take Manhattan', 'So long Marianne' and 'Closing Time'.

And when his audience still would not let him go, he closed definitively with "I Tried to Leave You".

He sang: "Goodnight, my darling, I hope you're satisfied, the bed is kind of narrow but my arms are open wide. And here's a man still working for your smile."











Montreux, Switzerland

ENGLISH VERSION.

Leonard Cohen berce de sa voix d'or le festival de jazz de Montreux

Le matin - July 9, 2008

A 73 ans, Leonard Cohen a bercé mardi soir de sa sombre voix d'or le public du festival de jazz de Montreux, l'emportant dans son monde poétique de dandy mélancolique.

"Il y a longtemps que je ne suis pas revenu sur scène, ça fait environ 14 ans. J'avais 60 ans, je n'étais encore qu'un enfant avec un rêve fou", confie le chanteur canadien en début de concert, un sourire malicieux aux lèvres.

Vêtu d'un complet gris et d'un chapeau de feutre assorti, légèrement voûté, il ajoute de sa lente et envoûtante voix de basse: "Depuis, j'ai pris beaucoup de Prozac, j'ai aussi étudié la religion et la philosophie, mais la gaieté a pris le dessus". Et le chanteur d'entamer "It ain't no cure for love", l'un de ses classiques.

Pour sa troisième prestation au festival installé sur les bords du lac Léman, après des apparitions en 1976 et 1985, le chanteur a offert près de trois heures de concert à 2.800 spectateurs conquis.

Revenu à la scène après des déboires financiers et un long séjour dans un monastère bouddhiste entre 1993 et 1999, le chanteur a proposé une intense interprétation de tous les titres qui ont fait sa gloire, "Everybody knows", "Hallelujah" ou "Suzanne".

Ses mains rassemblées près du micro, le visage baissé pour plus de concentration, ses deux longues rides d'expression qui coulent le long des joues, Leonard Cohen happe ses spectateurs, les hypnotise.

"C'est un luxe pour nous d'être ici, dans un endroit comme ici, alors qu'il y a des problèmes partout", confie-t-il au public.

"Rendez-moi le mur de Berlin, rendez-moi Staline et St Paul. J'ai vu l'avenir, mon frère: il est crime", chante Leonard Cohen.

S'il est sombre sur l'avenir, le compositeur raconte également des amours sensibles et douloureuses. Son velours vocal traînant dans un "I'm your man" longuement applaudi.

Dans ses musiques, il a placé une clarinette, du sirtaki, qui renouvellent ses chansons.

Face à la salle comble, le poète prend un moment la place du chanteur et raconte un long texte qui parle de baisers et de roses où le kitsch est rendu fascinant grâce à cette voix presque douloureuse.

Né à Montréal en 1934, Leonard Cohen a publié des ouvrages de poésie avant de se lancer dans la chanson en 1967, avec un premier album intitulé "Songs of Leonard Cohen".

En fin de spectacle, le chanteur a fait des saluts prolongés, des retours sur scène avec un plaisir évident de retrouver un public quitté il y a près de quinze ans.






Translated by Google Translate

Leonard Cohen cradles his voice or the jazz festival in Montreux

Le matin - July 9, 2008

In 73 years, Leonard Cohen has rocked Tuesday evening of his dark voice of the public or jazz festival in Montreux, carrying in its World dandy poetic melancholy.

"A long time ago that I am not back on stage, it's about 14 years. I was 60 years, I was still a child with a crazy dream," the Canadian singer at the beginning together, a mischievous smile to the lips.

Dressed in a gray and complete a hat with felt, slightly arched, it adds its slow and haunting voice low: "Since I took a lot of Prozac, I also studied religion and philosophy, but the joy took over. " And the singer to start "It is not no cure for love", one of his classics.

For its third performance at the festival installed on the shores of Lake Geneva, after appearances in 1976 and 1985, the singer has offered nearly three hours together to 2,800 spectators conquered.

Revenue at the scene after financial setbacks and a long stay in a Buddhist monastery between 1993 and 1999, the singer has proposed an intense interpretation of all titles that have made his glory, "Everybody knows" "Hallelujah" or "Suzanne".

His hands gathered near the microphone, face down for more concentration, its two long rides of expression that flow along the cheeks, Leonard Cohen grabbed his spectators, hypnotise.

"It's a luxury for us to be here in a place like here, while there are problems everywhere," he says in public.

"Give me the Berlin Wall, make me Stalin and St. Paul. I saw the future, my brother: it is a crime," Leonard Cohen sings.

If it is dark on the future, says the composer also loves sensitive and painful. His velvet voice trailing in a "I'm your man" applauded at length.

In his music, he placed a clarinet, sirtaki, renewing his songs.

Faced with the house, the poet takes a moment instead of singer and tells a long text which speaks of kisses and roses, where kitsch is made fascinating through this voice almost painful.

Born in Montreal in 1934, Leonard Cohen has published books of poetry before launching into the song in 1967, with a debut album entitled "Songs of Leonard Cohen."

At the end of the show, the singer has been extended greetings, returns on stage with obvious pleasure to find an audience left there almost fifteen years.











Montreux, Switzerland

ENGLISH VERSION.

Leonard Cohen: «Vous êtes merveilleux!»

Le Matin - July 9, 2008 by Jean-Philippe Bernard

De passage, mardi á Montreux, pour un unique concert suisse, Leonard Cohen, en état de grâce, a offert un moment d'éternité au public de l'Auditorium Stravinski

A l'heure dite, il avance d'un pas rapide vers le devant de la scène. Son sourire est unique, de ceux surtout qui soignent tous les tourments de l'âme. Et sans concertation préalable, la salle lui offre une première standing ovation. Le geste est d'autant plus touchant qu'il n'est pas surjoué. Sans tarder, Leonard Cohen, qui fêtera bientôt ses 74 ans, entame sa prestation par «Dance me to the End of Love», soit le titre avec lequel il avait conclu sa dernière visite ici, au cours de l'été 1985..

Avant le premier refrain, les regards s'embuent. Certes, on pourrait bloquer sur l'accompagnement musical á la limite du thé dansant. Mais il y a cette voix grave, chaude, amie de toujours. Même si elle semble parfois plus fragile, il est évident que le temps n'a pas pu exercer sur elle son influence néfaste.

Elégant voyageur
Au fil des couplets, alors que déjá «Everybody knows» succède comme dans un rêve á «Bird on a Wire», le timbre mythique retourne l'âme sans répit. Elégamment vêtu, á la façon de ces voyageurs du siècle passé qui adoraient s'échouer dans les palaces, Leonard Cohen reçoit en retour des vibrations fraternelles proprement telluriques.

Entre deux titres, il souligne le privilège que lui-même et tous les individus présents dans l'Auditorium Stravinski ont de «vivre un pareil moment de partage dans un monde où l'ombre et le chaos font autant de ravages». Chaque chanson est accueillie par une ovation et ponctuée par un tonnerre d'applaudissements. En apesanteur sur le Toit du Monde, le vieux sage sourit et ce sourire si bon transperce les spectateurs, jeunes ou moins jeunes, en plein coeur.

Moment d'éternité
Reconnaissant et généreux, il présente sans relâche ses accompagnateurs et notamment Sharon Robinson («Everybody knows», «In my Secret Life»...), choriste avec laquelle il a composé tant et tant de titres merveilleux.

Après un court entracte, «Suzanne», tout comme «I'm your Man», fait encore grimper la fièvre. Après ce dernier titre, en récitant «A Thousand Kisses Deep», Leo offre á ses fidèles un nouveau moment d'éternité. Il renouvellera l'expérience au cours d'un premier rappel, avec «If it be your Will», l'un des titres les plus sublimes d'une discographie qui ne descend pas au-dessous de l'excellence. Lorsque les notes de ces retrouvailles, bouleversantes d'humanité, s'estomperont lentement, il faudra bien redescendre et retrouver la terre ferme. Mais ce sera difficile...






Translated by Google Translate

Leonard Cohen: "You are beautiful!"

Le Matin - July 9, 2008 by Jean-Philippe Bernard

From passage Tuesday in Montreux, for a single concert switzerland, Leonard Cohen, a state of grace, offered a moment of eternity to the public of the Auditorium Stravinsky

At the time called it a step ahead rapidly to the front of the stage. His smile is unique, especially those who treat all the torments of the soul. And without prior consultation, the room offered him the first standing ovation. The gesture is all the more touching it is not surjoué. Without delay, Leonard Cohen, who will soon celebrate its 74 years, begins his performance with "Dance me to the End of Love" is the title with which he concluded his last visit here during the summer of 1985 ..

Before the first chorus, all eyes fog. Of course, one could block on the musical accompaniment to the limit tea dancing. But there is this deep voice, warm friend forever. Even if it sometimes seems more fragile, it is clear that the time was unable to exert its influence on it harmful.

Elegant traveler
Over the couplets, while already "Everybody knows" succeeds as in a dream, "Bird on a Wire", the mythical stamp the soul returns without respite. Elegantly dressed, the way these travellers of the past century who worshiped aground in the palaces, Leonard Cohen receives in return vibration fraternal telluric properly.

Between two titles, he stressed that the privilege itself and all individuals present in the Auditorium Stravinsky have to live such a moment of sharing in a world where darkness and chaos are just as much devastation. " Each song was greeted with a standing ovation and punctuated by a thunderous applause. In weightlessness on the Roof of the World, the wise old man smiled that smile and good transperce spectators, young or old, in the heart.

Moment of Eternity
Recognizing and generous, he introduced tirelessly its leaders including Sharon Robinson ( "Everybody knows", "In my Secret Life »...), vocalist with whom he wrote so many wonderful titles.

After a short intermission, "Suzanne", like "I'm your Man" is still climbing fever. After this last title, reciting "A Thousand Kisses Deep", Leo offers its followers a new moment of eternity. It will renew the experience during a first reminder, "If it be your Will," one of the most sublime of a discography that does not descend below excellence. When the notes of these get-togethers, shocking humanity, slowly fade, it will have to back down and return the land. But it will be difficult ...











Montreux, Switzerland

Leonard Cohen: The Maestro at Montreux

July 10, 2008 by Dayan Jayatilleka

The Master of the modern love song, whose intricate and intense musical cartography of the relationships between men and women provided the soundtrack of our private lives, has come down like Moses or Zarathustra from the mountain, gaunt, courtly, priestly, yet slightly noir-ish in broad-striped double breasted charcoal suit, tie-less, fedora perched rakishly on his silvering hair as if Bogart had somehow grown old gracefully.

Five encores I think there were, but it may have been one more, for this 74 year old, finishing the performance one hour later than planned, bowing to the audience, fedora doffed and held close to his heart, eyes softly shining.

The man is what he has always been, what he was from the beginning, before he sang. Leonard Cohen is a poet. He reminds us of this, reciting, not singing, one of his later songs in entirety - A Thousand Kisses Deep - which I remember from a movie scene with a weather-beaten Nick Nolte looking out of the hotel window at the casino he is about to rob, the cropped haired girl sleeping on the sofa curled up after her fix, lost.

Not so much poetry set to music as poetry set in music. In the beginning and the first decades his songs meditated on the metaphysics of man and woman in love and lust, the Woman as the Other (not "the other woman" as in callow country music), angst finely wrought into art, but never overwrought.

The angel of angst has aged. The voice remains smoky, deeper than before, but instantly recognizable like those of Dylan and Van Morrison. Cohen has done with his voice that which Clint Eastwood has with his face, transmuted aging into an instrument of art.

He has always had women collaborators, and one remembers Jennifer Warnes and Anjani (his "partner in life"), but no one has played as big a musical role as Sharon Robinson, who is on stage with him at Montreux, classically trained pianist and blues-tinged jazz singer who has scored many of his latest songs.

At Montreux, Leonard Cohen has modified the music of some of his songs, turning Bird on the Wire blue-tinged. Again a new, blues opening riff and next to me Sanja is already cheering, recognizing as I have not, the opening of "Hallelujah" which Cohen delivers in genuflection, eyes shut, then rising, upright, face upwards, eyes still unopened, giving voice to his Psalm.

Suzanne he sings straight, the old introductory chords from his guitar, eyes open, looking into the crowd, changing a line: "And you know that she will find you..." Each one of us remembers when we first heard of Suzanne, a different kind of girl.

It wasn't the first time I had heard Leonard Cohen. That was at the Liberty cinema in Colombo, as Warren Beatty walked through the mist across a rickety foot bridge, reins in hand, his horse behind him, the camera catching the crystalline dew drops, in Robert Altman's McCabe and Mrs. Miller, a completely distinct, unique voice coming over slow and deep with the opening bars of Stranger Song. I committed the credit to memory - Leonard Cohen - and went in search of his music. For not quite four decades he has inhabited my inner landscape and finally I have caught up with him. At Montreux he does not sing the signature Stranger Song (his 2003 volume of selected poems and songs is called Stranger Music) but does Sisters of Mercy. In the cinema of my mind I see the silhouette of women on burros against the hilly skyline at sunset in Altman's movie as the song was sung the first time I heard it.

The soundtrack of the Altman film is from his debut album The Songs of Leonard Cohen and at Montreux he follows up Sisters of Mercy with So Long Marianne and Hey, That's No Way to Say Goodbye, from it. The evening's songs are selected from all the albums but most seem to be from the last three. First We Take Manhattan, Ain't No Cure for Love, Everybody Knows, I'm your Man, Take This Waltz, Tower of Song ( all from I'm Your Man); The Future, Closing Time, Anthem, and Democracy (from The Future); In My Secret Life, A Thousand Kisses Deep and Boogie Street (from the latest: Ten New Songs).

Cohen's homeland is the human heart and he lives in its labyrinth. Nietzsche's master-slave syndrome, applied by Sartre to the foundational dialectic relationship, man/woman, is poeticized and set to elegiac music by him, studded and strewn with Biblical metaphor and allusion. But Leonard Cohen is not only the sketch artist of naked emotions and plumber of inner space. He occasionally walks into a different dimension, reflecting ironically on late modernity and post modernity, as in First We Take Manhattan, Democracy Is Coming to the USA and The Future.

This is his only concert in Switzerland. He tells us when he last played in this hall he was "sixty years old, just a kid with a crazy dream". Now, fourteen years on, at the 42nd Montreux Jazz Festival, where is he at? On our way into the Stravinsky auditorium Sanja had shown me the verse from his Anthem on a T shirt:

Ring the bells that still can ring
Forget your perfect offering
There is a crack in everything
That's how the light gets in

He has assembled a sensitive, gifted back up band, Javier Mas on Spanish guitar (with whom Cohen often communes on one knee), Dino Solo on the sax and wind instruments, Neil Larsen on keyboards, Rafael Gayol on percussion, Roscoe Beck on bass, Bob Metzger on guitar, and Cohen's chorus of angels - Sharon Robinson, and The Webb Sisters. He indicates a time that he could not write, and sings the first verse of the prayer that he composed at and for those moments, If It Be Your Will (from the album Various Position, as is Hallelujah).

If it be your will
that I speak no more,
and my voice be still
as it was before;
I will speak no more,
I shall abide until
I am spoken for,
if it be your will.

He leaves off after this opening verse, inviting the Webb Sisters to sing the rest and you understand, as Hattie plays the harp, why he repeatedly calls them "the sublime Webb Sisters". A classical sketch of a woman, one breast outlined, playing a harp, is on the back cover of the souvenir as the motif of the 2008 world tour.

The mystique of the reclusive, emotionally masochistic bard in black - Field Commander Cohen, the title of a 1979 album - has lightened, thinned to the more accessible human essentials of a man in communion with others, offering his gift of song not to an elusive, fickle muse but to a deity of song or perhaps to humanity; to all of us. This is a man enlightened, made lighter and lit up from inside, by the way he has aged, his explorations into "the religions and philosophies" as he put it last night. As he has grown older, his voice huskier, his music is about letting go, standing back, bidding a long goodbye.

*************************

Dayan Jayatilleka, PhD, is Sri Lanka's Ambassador and Permanent Representative to the United Nations in Geneva.











Montreux, Switzerland

Philosophy of Song

New York Times - July 10, 2008








Thanks to Linda Straub for providing this article.









Montreux, Switzerland

Les prix prennent encore l'ascense mai le public continue à «suivre»

24heures - July 9, 2008 by Stéphanie Arboit







Thanks to Sasha K for providing the clipping of this article.











Montreux, Switzerland

ENGLISH VERSION.

Deux ou trois choses encore sur la magie Cohen

24heures - July 10, 2008 by Michel Caspary








Two or three more things on the Cohen Magic

24heures - July 10, 2008 by Michel Caspary

The lucky ones who saw and heard Leonard Cohen on Tuesday evening at the Auditorium Stravinski ( see yesterday's edition of "24 HEURES" ) will have no trouble remembering it.

"My songs last as long as a Volvo, 23, 25 years", the man from Montreal mischievously said one day. And they last even longer. " Suzanne " was born in 1967. What is the secret of such longevity? Obviously, a magical and mysterious alchemy of which only one ingredient is clearly known: that voice with its dizzy depths, originating from the secret place of the soul.

He admits it freely: it's a gift from heaven. " I was born with the gift of a golden voice " ( in " Tower Of Song" ). As for the ( very many ) people who couldn't buy one of the ( very expensive ) tickets, all they can do now is try their luck in Nice, Madrid or Paris, rush at the Master's recordings, or pester the Festival director, Claude Nobs, to give them a private screening of his film of the concert in his chalet, Le Picotin.

Will we see Leonard Cohen on stage again one day? Not sure. He will be 74 years old this year. With the figure of a wasp and the eye of a lynx, he has kept in shape, still has punch and desire, clearly enjoying every moment of that evening, and, no doubt, of life itself. A tour of this magnitude ( 2 continents, about 30 cities, around 50 concerts ) is, of course, no holiday. But you can never be sure of anything, as Henri Salvador said, and he is still on stage after celebrating his 90th birthday with a good many drinks.

A singer and monk, Leonard Cohen has for years calmed his zeal to tour the concert halls and festivals. He has a deep need for introspection, which hasn't prevented this " journalist of the interior life " , as he defines himself, from observing " that abattoir ," the world. With the sole outcome: "the energy of love". And this conviction, as he said on Tuesday evening," There is a crack, a crack in everything. That's how the light gets in."

So the 2800 members of the audience delightedly plunged into shadows, while dreaming of birds. At the end of the voyage, with infinitely sweet melancholy, they filed the pearls from that concert in their memory. The sublime version of "Suzanne", the intense " Hallelujah", the ironic "Democracy", the mischievous "I'm Your Man", the childlike, headstrong dance "Take This Waltz", and the emblematic "So Long, Marianne". But also the immaculate " If It Be Your Will" ( sung by two angels, the Webb sisters, affectionately watched over by Cohen ) or again, that poem " A Thousand Kisses Deep", a miraculous, thrilling offering which had the audience at his feet.



Thanks to Sasha K for providing the clipping and translating this article.









Montreux, Switzerland

ENGLISH VERSION.

«C'est un luxe de se produire ici»

20 Minutes - July 9, 2008 by Gregoire Nappey








"It's a luxury to perform here"

20 Minutes - July 9, 2008 by Gregoire Nappey

Leonard Cohen had a packed Auditorium of overcome fans completely spellbound last night. He is unique, a kind of mythical figure. His voice, of course, but also his style and his too rare appearances make him seem a living god. But a human god, whom one can approach and almost touch. The audience was partly seated, well-behaved, mostly of mature age.

For Leonard Cohen has been singing for over 40 years. Today he is almost 74.. Black suit, grey shirt, and black hat, the Canadian poet goes through the list of his titles. His hand often makes the shape of a fan to protect the microphone or his mouth. And that voice ! Coming from the depth of shadows, it stuns the audience, even when he's greeting Montreux, where " it's a privilege and a luxury " to perform.

Besides, this is the only performance in Switzerland during his tour. " Dance me to the end of love ", "Everybody Knows", "Suzanne ", "The Gypsy's Wife"...folk, pop or cabaret, the artist sings of love, politics, or religion. And he says to the audience, " Thank you for all these years in which you have kept my songs alive."

No, Mr Cohen, it is we who thank you.



Thanks to Sasha K for providing the clipping and translating this article.









Montreux, Switzerland

Comeback

Retour - July 9, 2008

When he came on to the stage, Leonard Cohen received a standing ovation. And during the two-hour show ( with an intermission ) a religious silence reigned in the Auditorium Stravinski. That's normal; yesterday the " young man of 73" was giving his only concert in Switzerland after an absence of nearly 15 years. And in front of an already conquered audience, the poet with the golden voice started with " Dance Me To The End Of Love " and sang his hits again, including " Suzanne " and an unbelievable "Hallelujah" made sublime by a virtuoso performance on the Hammond organ.



Thanks to Sasha K for providing and translating this article.









Montreux, Switzerland

Photos and Other Fan Reports

Christof Graf shares his wonderful report and photos on The Leonard Cohen Files.




A beautiful photo presentation by Alex.







Discuss the tour and read fan reviews on The Leonard Cohen Forum and in French on the Leonard Cohen Forum (French site).









Lyon, France

Set List - July 9, 2008

Per Albert on The French Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
Hey That's No Way To Say Goodbye
Anthem

Second Set

Tower Of Song
Suzanne
Gypsy Wife
Boogie Street
Hallelujah
Democracy

First Encore

I'm Your Man
Take This Waltz

Second Encore

So Long, Marianne
First We Take Manhattan

Third Encore

Sisters of Mercy
If It Be Your Will

Fourth Encore

Closing Time

Final Encore

I Tried to Leave You
Whither Thou Goest











Lyon, France

ENGLISH VERSION.

Leonard Cohen, de retour dans la lumière

La Croix - July 10, 2008 by Guillaume Goubert

Aux Nuits de Fourvière, á Lyon, le poète et chanteur canadien a offert un superbe récital couvrant les quarante années de son æuvre

Lorsque Leonard Cohen est arrivé, mercredi 9 juillet au soir, sur la scène des arènes de Fourvière, le public s'est levé, d'entrée, pour une ovation. La belle nuit d'été sur les hauteurs de Lyon avait un goût de retrouvailles : cela faisait quinze ans que le chanteur et poète canadien n'était pas apparu sur une scène française.

Le vieil homme aux cheveux blanchis - il fait davantage que ses 73 ans - s'est tenu très droit face á la foule, mince et élégant dans son costume sombre. Il a posé son chapeau mou sur le cæur. Un demi-sourire sur le visage. Signe d'une sorte de détachement affectueux qu'il manifestera tout au long des deux heures du concert.

On le sait, Leonard Cohen a repris la route parce qu'il doit faire face á des problèmes d'argent. Le pire était donc possible. Un tour de chant au rabais, la vieille idole alignant les succès sans conviction, accompagnée par des musiciens payés á la note. Il n'en est rien.

Au cours de cette tournée (1) entamée le 11 mai au Canada, Leonard Cohen s'appuie sur six excellents musiciens et trois choristes. Comme de coutume, le Montréalais a parfaitement choisi les voix féminines qui l'accompagnent, en particulier celle de Sharon Robinson, magnifique chanteuse noire associée á ses deux derniers albums. Leonard Cohen manifeste aux unes et aux autres un respect rare. Lorsqu'ils prennent un solo, il se tient près d'eux, chapeau bas.

Les textes sont souvent aussi graves que sa voix

Au risque de frustrer ses partisans de la première heure (c'était au début des années 1970...), Cohen n'a pas privilégié ses plus anciennes chansons dans la construction d'un récital qui couvre quatre décennies. Elles arrivent á intervalles réguliers. Suzanne, Bird on the Wire (superbement arrangé en blues), So long Marianne, Sisters of Mercy. Et puis, comme ultime rappel, en clin d'æil, I Tried to Leave You : « J'ai essayé de te (vous) quitter. »

Anciennes ou récentes, les chansons sont tissées de notations bibliques, de références aux évangiles, témoignant d'une quête spirituelle qui a notamment conduit Leonard Cohen á se retirer pendant dix ans dans le silence d'un monastère zen des montagnes de Californie. Les textes sont souvent aussi graves que sa voix.

Mais celui que de mauvaises langues surnommèrent « le plus puissant dépressif non chimique du monde » ne cède finalement jamais au désespoir. Ainsi dans la très belle chanson qui a conclu la première partie du concert, Anthem (hymne) : « Ring the bells that still can ring. Forget your perfect offering. There is a crack in everything. That's how the light gets in. » Sonnez les cloches qui peuvent encore sonner. Oubliez votre offrande parfaite. Il y a une faille en toute chose. C'est ainsi qu'entre la lumière...






Translated by Google Translate

Leonard Cohen, back in the light

La Croix - July 10, 2008 by Guillaume Goubert

In Nights Fourvière, Lyon, the Canadian poet and singer gave a superb concert covering forty years of his work

When Leonard Cohen came, Wednesday, July 9 at night, on stage Fourvière arenas, the audience stood up, entry to a standing ovation. The beautiful summer night on the heights of Lyon had a taste of reunion: it was fifteen years that the Canadian singer and poet was not published on a French scene.

The old man with bleached hair - it is more than his 73 years - was held very right to face the crowd, thin and elegant in his dark suit. He raised his hat soft on the heart. A half-smile on his face. Sign a sort of affectionate detachment that manifested throughout the two-hour concert.

We know that Leonard Cohen took over the route because he faces money problems. The worst was therefore possible. A round of singing at a discount, the old idol aligning success without conviction, accompanied by musicians paid to the note. It is not.

During this tour (1) started on May 11 in Canada, Leonard Cohen is based on six excellent musicians and three singers. As usual, the Montrealers a perfectly chosen the female voices that accompany it, especially that of Sharon Robinson, beautiful black singer associated with its last two albums. Leonard Cohen clear to both respect rare. In taking a solo, he stands close to them, hat low.

The texts are often as serious as his voice

At the risk of frustrating his supporters for the first time (it was in early 1970...), Cohen has not placed its oldest songs in the construction of a recital, which covers four decades. They arrive at regular intervals. Suzanne, Bird on the Wire (beautifully arranged in blues), So long Marianne, Sisters of Mercy. And then, as a final reminder, a wink, I Tried to Leave You: "I tried to you (you) leave."

Old and recent songs are woven notations biblical references to the Gospels, reflecting a spiritual quest that has led Leonard Cohen to withdraw for ten years in the silence of a Zen monastery in the mountains of California. The texts are often as serious as his voice.

But one bad language nicknamed "the most powerful non-chemical depression of the World" will finally cedes never despair. Thus, in the beautiful song that concluded the first part of the concert, Anthem (anthem): "Ring the bells that still can ring. Forget your perfect offering. There is a crack in everything. That's how the light gets in. "Ring the bells that can still ringing. Forget your perfect offering. There is a loophole in everything. Thus, between the light...











Lyon, France

ENGLISH VERSION.

Leonard Cohen de retour en France

France Info - July 10, 2008

Leonard Cohen a fait son retour en France, hier soir, aux Nuits de Fourvière, á Lyon. Le poète et chanteur canadien ne s'était pas produit sur scène depuis 15 ans.

A Glastonbury il y a quelques jours ou Montreux avant-hier, Leonard Cohen est attendu partout comme le messie. Il n'est pas monté sur scène depuis 15 ans ! Il expliquait récemment á la presse québécoise que son retour est une nécessité. Car il a été ruiné par son ancien agent, partie avec quelque cinq millions de dollars qui constituaient pour une grande part son assurance-retraite.

Le songwriter, âgé de 73 ans, est plus resplendissant que jamais, et envoute de sa voix de barde iconoclaste toutes les salles où il se produit. C'est ce que Nicole Guillard a constaté hier, aux Nuits de Fourvière.

Prochain concert en France : au Nice Jazz Festival, le 22 juillet. Et il sera trois soirs de suite á l'Olympia, á Paris, les 24, 25 et 26 novembre.

Audio report






Translated by Google Translate

Leonard Cohen is back in France

France Info - July 10, 2008

Leonard Cohen is back in France

Leonard Cohen has made his return to France, yesterday evening, the Nuits de Fourviere in Lyon. The Canadian poet and singer had not occurred on stage for 15 years. Glastonbury A few days ago Montreux or the day before yesterday, Leonard Cohen is expected everywhere as the messiah. It is not mounted on stage for 15 years! He explained recently in the Quebec press that his return is a necessity. For it was ruined by his former agent, part with some five million dollars which accounted for a large part its pension insurance.

The songwriter, 73 years old, is more resplendent than ever, and captured his voice iconoclastic bard all the rooms in which it occurs. That's what Nicole Guillard noted yesterday, the Nuits de Fourviere.

Next concert in France: the Nice Jazz Festival, July 22. And it will be three nights in a row at the Olympia in Paris, 24, 25 and 26 November.

Audio report











Lyon, France

ENGLISH VERSION.

Cohen again

Libération - July 11, 2008 by Ludovic Perrin

Après quinze ans d'absence, Leonard Cohen a débuté, mercredi á Lyon, une tournée européenne. Il passera par Nice, avant trois Olympia prévus pour novembre.

Sa dernière tournée l'aurait détruit. Trois bouteilles de vin avant d'entrer sur scène. Une centaine de dates. C'était en 1993. Puis, il a fini la promo de l'album The Future et s'est retiré dans un monastère bouddhiste sous le nom de Dharma : le Silencieux. Qu'est-ce qui explique ce retour sur scène quinze ans après ? Leonard Cohen ne s'en cache pas : le fric. Ruiné par son ancienne manageuse, Kelley Lynch, partie en 2004 avec cinq millions de dollars, le chanteur canadien, 73 ans, s'est résolu á sortir de sa retraite : une tournée commencée mi-mai au Canada, avant l'Europe et la France, pour deux dates seulement, á Lyon et á Nice, avant des Olympia en novembre et un nouvel album, peut-être.

Neige. Dominique Delorme, directeur des Nuits de Fourvière, a approché le chanteur via le compositeur Philip Glass, qui mettait l'année dernière en musique le recueil Book of Longing. Leonard Cohen constitue le point d'orgue de la programmation musicale du festival lyonnais : aucune interview (on peut se rabattre sur un long entretien de 2005, ce mois-ci dans Vibrations) mais trois mille tickets partis en vingt-quatre heures. Mercredi soir, pas mal espéraient encore trouver une place á la revente devant les arènes de ce Grand Théâtre en plein air, sur les hauteurs de Lyon.

On a vu en Leonard Cohen un nouveau Dylan, á la sortie de son premier album Songs of Leonard Cohen, en 1968. De ces dix titres, il jouera les plus célèbres, So Long Marianne, écrit pour Marianne Jensen alors qu'ils vivaient sur l'île d'Hydra (Grèce), Sisters of Mercy, pour deux femmes recueillies un soir de tempête de neige á Edmonton, Hey, That's no Way to Say Goodbye, également sur le fameux best-of au portrait jaune, et Suzanne, pour Suzanne Verdal, l'ex-femme de l'ami peintre Armand Vaillancourt, en bonne place parmi le millier de reprises et adaptations des succès de Leonard Cohen, de Judy Collins á Françoise Hardy en finissant par Bashung en 2008.

Incantatoire. Dylan, lui, a repris Hallelujah. Mais si Bobby le Zimm peut largement écorner la légende á l'occasion sur scène (son pourri, mélodies massacrées, plantades á répétition), un concert de Leonard Cohen assure d'entendre fidèlement les chansons. Elles sont extrêmement bien mises en valeur, un conteur, entre le parlé et le chanté, de cette voix grave soutenue par une litanie de chæurs féminins évoluant sur des tempos assez lents.

Un recueillement incantatoire sur la chute, la solitude et l'émerveillement de l'homme aux prises avec la foi. Voilá ce qu'on a vu pour 50 euros: trois heures de classiques (dont entracte de vingt-cinq minutes). Arrivé en chapeau et costume croisé á rayures, le chanteur, avec ses neuf musiciens, tout aussi vêtus, entame son tour par Dance Me to The End of Love. Cette chanson marqua un retour, en 1985. The Future, Ain't No Cure for Love... Il y a des synthés, un saxo électronique, du kitsch dans l'orchestration qui passe très bien, même si l'on est content d'arriver rapidement á Bird on the Wire, Everybody Knows, Who by Fire...

Chapeau. Oud, mandoline, Fender Telecaster et douze cordes á grosse caisse se marient á un orgue Hammond B3 dans un genre de soul en exil méditerranéen, lancée en partie duale avec les chæurs, contre-chants et voix doublées de la psalmodie juive. Pour les mauvais en anglais, le chanteur introduit ses chansons en français. Pour les aficionados, á chaque solo il présente ses musiciens, le chapeau á la poitrine. Tower of Song, The Gypsy's Wife, I'm Your Man, Take this Waltz, Democracy sur l'exportation du modèle politique américain - des chansons sur le deuxième volume des best of. Leonard Cohen se dit très heureux de pouvoir les chanter dans un monde gouverné par le chaos. Un de ses premiers recueils s'intitulait Flower for Hitler. Petit homme aux cheveux blancs, il se tient bizarrement dans son costume, le geste lent et économe, légèrement voûté. Un seul pas de danse, mais de généreux sourires. Il a chanté «Rendez-moi le mur de Berlin, rendez-moi Staline et saint Paul, j'ai vu l'avenir, il est crime.» Il n'a pas chanté Chelsea Hotel, Famous Blue Raincoat, The Partisan.






Translated by Google Translate

Cohen again

Libération - July 11, 2008 by Ludovic Perrin

After fifteen years of absence, Leonard Cohen began Wednesday in Lyon, a European tour. It will pass by Nice, before three Olympia planned for November.

His last tour would have destroyed. Three bottles of wine before going on stage. One hundred dates. It was in 1993. Then he finished the promo of the album The Future and retired to a Buddhist monastery in the name of Dharma: Silent. What explains this back on stage after fifteen years? Leonard Cohen does not hide the money. Ruiné by his former manager, Kelley Lynch, party in 2004 with five million dollars, the Canadian singer, aged 73, was determined to get out of his retirement: a tour that began mid-May in Canada, before Europe and the France, for two dates only, Lyon and Nice, before the Olympia in November and a new album, maybe.

Snow. Dominique Delorme, director of Nuits de Fourviere, approached the singer via the composer Philip Glass, which placed last year in music collection Book of Longing. Leonard Cohen is the culmination of programming music festival in Lyons: no interview (you can fall back on a long interview in 2005, this month in Vibrations), but three thousand tickets left in twenty-four hours. Wednesday evening, a lot still hoped to find a place for resale to the arena of the Grand Theatre in the open air, on the heights of Lyon.

We saw Leonard Cohen in a new Dylan, the release of his first album Songs of Leonard Cohen, in 1968. Of the ten titles, will play the most famous, So Long Marianne, written for Marianne Jensen while they lived on the island of Hydra (Greece), Sisters of Mercy, two women gathered for an evening of a snowstorm Edmonton, Hey, That's No Way to Say Goodbye, also on the best-famous portrait of the yellow, and Suzanne, Suzanne Verdal, the former wife of the painter friend Armand Vaillancourt, prominently among the thousand acquisitions and adjustments to the success of Leonard Cohen, Judy Collins to Françoise Hardy Bashung ending in 2008.

Incantatoire. Dylan himself has taken Hallelujah. But if Bobby the Zimm can largely écorner legend on the occasion on stage (her rotten, melodies massacred, plantades repeated), a concert of Leonard Cohen assured faithfully to hear the songs. They are extremely well developed, a storyteller, between spoken and sung, this deep voice backed by a litany of female choirs moving on rather slow tempos.

A meditation on the fall incantatory, loneliness and the wonder of man grappling with faith. This is what we saw for 50 euros: three hours of classics (including intermission of twenty-five minutes). He arrived in hat and cross-striped suit, the singer, with his nine musicians, also dressed, begins his tour by Dance Me to the End of Love. This song marked a return in 1985. The Future Is not No Cure for Love... There are synths, sax electronic kitsch in the orchestration that goes very well, even if one is content to reach Bird on the Wire, Everybody Knows Who by Fire...

Hat. Oud, mandolin, Fender Telecaster and twelve string bass drum to get married to a Hammond B3 organ in a kind of soul in exile Mediterranean, launched in part with dual choirs, against-song voice and doubled the psalmodie Jewish. For bad English, the singer introduced her songs in french. For aficionados, every solo he introduced his musicians, hat in the chest. Tower of Song, The Gypsy's Wife, I'm Your Man, Take this Waltz, Democracy on the export of American political model - songs on the second volume of the best of. Leonard Cohen said he was very happy to sing in a world ruled by chaos. One of his first collections entitled Flower for Hitler. Little man with white hair, he stands in his bizarre costume, gesture slow and economical, slightly arched. A single dance step, but generous smiles. He sang "Give me the Berlin Wall, make me Stalin and St. Paul, I saw the future, it is a crime." He did not sing Chelsea Hotel, Famous Blue Raincoat, The Partisan.











Lyon, France

Fan Reports

Albert Labbouz reports on the Lyon concert on the French Leonard Cohen site.


Blog - Billy's Lines Of Gibberish - "Leonard Cohen in Lyon "
... first time in my life I saw a crowd cheering an artist with a five-minute standing ovation *before* the concert...









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