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
Take This Waltz
Lörrach (dpa) - Er war 15 Jahre nicht mehr auf Tour - doch das Warten auf Leonard Cohen hat sich für die Fans gelohnt.
Der erste Deutschland-Auftritt des 73 Jahre alten kanadischen Rock-Poeten, der gerade auf Europa-Tournee ist, wurde am Freitagabend in Lörrach (Baden-Württemberg) jedenfalls von den 5000 Besuchern auf dem «Stimmen»-Festival umjubelt.
Beinahe zweieinhalb Stunden reine Spielzeit, 24 Stücke - der schwarz gewandete Altmeister in Weste und Hut schien das Konzert auf dem Marktplatz zu genießen. Er bedankte sich im Verlauf seines Auftritts immer wieder, sprach von der großen Ehre und dem Privileg, Musik vor so vielen und so freundlichen Menschen machen zu dürfen. Mit «Dance Me To The End Of Love» startete der gut gelaunte Cohen das Konzert - es folgte ein Querschnitt aus gut vier Jahrzehnten Liedermacher-Geschichte.
Die neunköpfige Band - darunter die Sängerinnen Sharon Robinson sowie Charley und Hattie Webb - unterstützten und ergänzten Cohen souverän. Das Publikum, darunter viele ältere Fans, reagierte insbesondere auf die Klassiker aus den 60er Jahren euphorisch. Lieder wie «Bird On The Wire», «Who By Fire», «Suzanne» oder «So Long Marianne» wurden schon nach wenigen Takten erkannt und begeistert beklatscht und mitgesungen. Cohen absolvierte das Konzert mit der unverändert heiseren dunklen Stimme, wenigen Bewegungen und gelegentlicher Selbstironie über sein Alter oder seine Sinnsuche - er hat sich mit zahllosen Religionen und Philosophien von Scientology bis zum Buddhismus beschäftigt.
Gelegentlich, so bei «Hey That s No Way To Say Goodbye» oder «Suzanne» spielte er selbst Gitarre, bei «Tower Of Song» gar einige Takte Keyboard. Er genoss den Jubel bei der halbironischen Textzeile über sein Gesangstalent: «I Was Born With The Gift Of A Golden Voice». Melancholie und düstere Zukunftsprognosen («I ve Seen The Future Brother - It Is Murder») rundeten das Bild eines intellektuellen Schwarzsehers für Schmusestunden ab.
Der Lörracher Marktplatz war erstmals beim «Stimmen»-Festival mit 5000 Besuchern ausverkauft - auf dem Schwarzmarkt wurden für Karten bis zu 300 Euro geboten. Die weiteren Deutschland-Auftritte Leonard Cohens sind am 4. Oktober in Berlin, am 7. Oktober in München, am 29. Oktober in Frankfurt, am 31. Oktober in Hamburg und am 2. November in Oberhausen.
Lörrach (AP) - It was no longer 15 years on tour - but the wait for Leonard Cohen has been worthwhile for the fans.
Germany-The first appearance of the 73-year-old Canadian rock poets, especially on the European tour, was on Friday evening in Lörrach (Baden-Wuerttemberg) any of the 5000 visitors to the "voices" umjubelt Festival.
Nearly two and a half hours pure season, 24 pieces - the old master in gewandete black vest and hat seemed the concert on the square to enjoy. He thanked him during his performance again and again spoke of the great honour and privilege to music and so many friendly people to make. With "Dance Me To The End Of Love" started well gelaunte Cohen of the concert - it was followed by a cross-section of at least four decades songwriter history.
The nine-band - including singers Sharon Robinson and Charley and Hattie Webb - supported and complemented Cohen sovereign. The audience, including many older fans, in particular responded to the classics from the 60s euphoric. Songs such as "Bird On The Wire", "Who By Fire", "Suzanne" and "So Long Marianne" have been detected after a few bars and enthusiastic beklatscht and mitgesungen. Cohen attended the concert with the same heiseren dark voice, a few movements and occasional self-mockery about his age or his search sense - he has dealt with many religions and philosophies of Buddhism to Scientology.
Occasionally, as in "Hey That's No Way To Say Goodbye" and "Suzanne" he himself played guitar, "Tower of Song" even a few keyboard strokes. He enjoyed the jubilation in the halbironischen line of text on his vocal talent: "I Was Born With The Gift Of A Golden Voice". Melancholy and gloomy forecasts future ( "I ve Seen The Future Brother - It Is Murder") completed the image of an intellectual Schwarzsehers for Schmusestunden.
The Lörracher market place was the first time for "votes" festival visitors with 5000 sold out - on the black market for tickets were up to 300 euros offered. The Germany-Leonard Cohen's performances are on 4 October in Berlin, on 7 October in Munich, 29 October in Frankfurt, on 31 October in Hamburg and on 2 November in Oberhausen.
Der legendäre kanadische Songwriter Leonard Cohen ist nach langer Pause zurück auf der Bühne. Erstaunlich gelöst verzauberte er in Lörrach sein Publikum.
15 Jahre war Leonard Cohen verschwunden von der Bühne. Doch von einem Comeback zu sprechen, scheint zu profan für diese verblüffende Tournee, die ihn am Freitag zum ersten Deutschland-Konzert auf das Lörracher "Stimmen"-Festival geführt hat: Der 73-jährige Kanadier zelebriert einen Abend in Erhabenheit und Würde, mit altersweisem Witz, großer Dankbarkeit und Freude. Er triumphiert und rührt. Cohen ist nicht Kult, er ist Kirche.
Die Bühne betritt er im Laufschritt, eine hagere Gestalt in schwarzer Anzugshose, schwarzer Weste, grauem Hemd und dem wichtigsten Bühnenutensil, einem dunklen Filzhut, den Cohen braucht, um Huldigungen entgegenzunehmen und seinen Musikern zu huldigen. Und wie er den sehnig-gespannten Hals nach vorne reckt, wirkt er wie eine Mischung aus verschmitztem Mafiapaten und Morla, der weisen Schildkröte aus der "Unendlichen Geschichte".
Anzeige
Er spricht dann gravitätische Sätze aus einer fernen Welt, in der Frauen anbetungswürdig sind und das Leben nicht vom Streben nach dem IPhone, sondern Erlösung von Schmerz und Wirrnis durch die Wahrheit des Schönen geprägt ist. Bedankt sich für das "Privileg, hier sein zu dürfen, für diesen Luxus, dieses spirituelle Unterfangen". Dass nicht einmal die Jüngeren kichern, ist neben seiner Fröhlichkeit das zweite kleine Wunder.
Leonard Cohen ist fit und gelöst wie nie, die um neue Tiefenregister erweiterte Stimme nur besser geworden, warm, voll, umschmeichelnd, aber auch hart und präzise wie im grimmig-weisen ersten Höhepunkt "Everybody Knows". Er wiegt sich in den loungigen Takten, die ihm seine sechsköpfige Band so unaufdringlich leise unterlegt, dass sie mitunter hart am Grat zwischen Schmelz und Schmalz agiert - und gelegentlich bei glibbrigen Saxsoli abrutscht, was "Bird on the Wire" nicht guttut.
Doch das ficht den Ergriffenen nicht an. Unzählige Male stellt er seine Musiker vor, einschließlich der "erhabenen" Webb-Sisters aus Kent und Sharon Robinson, die für sirenenhafte Girlanden und das "Ba-da-dam" zuständig sind. Cohen gibt den großen Liebhaber, der empfängt und gibt - allein, wie die Finger seiner linken Hand das Mikrofonkabel umzärteln, wird manche vor Sehnsucht brennen lassen.
Ob das nun erhaben ist oder maniriert, man muss schon hartherzig sein, um im Zauber dieser Wiederkehr ihren schnöden Anlass nicht schnell zu vergessen: Dass Cohen nach seinen Jahren im Zen-Kloster herabgestiegen kam vom Berge, um seine Ruhestandskonten leer zu finden. Fünf Millionen soll ihm seine Exmanagerin abgezwackt haben, so sagt es Cohen, so sagen es die Gerichte. Das Geld aber ist futsch. Also geht er arbeiten. Doch die Bühne dieser Rentenbeschaffungsmaßnahme verlässt er zur Pause hüpfend wie ein fröhliches Kind. Schon aus dem Soundcheck machte er ein bestauntes Gratiskonzert.
Gut zweieinhalb Stunden netto serviert der Grandseigneur der Schwermut ein Menü aus 40 Schaffensjahren, die großen Hits empfängt ein beseelt-berührtes Publikum aus großteils reiferen Damen mit ruhigen Männern auf dem ausverkauften Marktplatz wie einen Gnadenakt: von "Suzanne" und "Marianne" zum düster-bissigen "The Future". Und wenn bei "Hallelujah" selbst diejenigen laut singen, die den Song altersbedingt eher aus "Shrek" kennen, mag sich manch einer wundern, dass nicht die Himmelspforten aufgehen, um den Suchenden heimzuholen. Doch dafür hat der augenscheinlich schon wieder zu viel vor.
Was den Cohen dieser Tage ausmacht, ist die Mischung aus würdevoller Gravität, weihevollem Ton und einer charmant-weisen Selbstironie. Die alten Kämpfe behalten ihre Wahrheit, sind aber ausgestanden. Am Tag eins nach Obama brandet Jubel auf, wenn er singt "Democracy is coming - to the USA".
"Heres a man still working for your smile", singt Cohen am Ende dieses langen Bühnenweihfestspiels breit lächelnd. Die Tournee, sagt seine langjährige Koautorin Sharon Robinson, "hat als Abschied begonnen. Doch nun hat Leonard so viel Freude und Energie, dass man nicht mehr sicher sein kann." An einem neuen Album arbeiten sie bereits. Und was manchen vor Wochen noch traurig machte nach der Absage des Berliner Waldbühnen-Konzerts, klingt nun wie ein Versprechen: "First we take Manhattan, then we take Berlin." Am 4. Oktober ist es so weit.
The legendary Canadian songwriter Leonard Cohen is back after a long pause on the stage. Amazingly resolved in Lörrach he enchanted his audience.
15 years was Leonard Cohen disappeared from the stage. But a comeback to speak, seems too profane for this amazing tour, who on Friday for the first concert in Germany Lörracher the "Voices" festival has led the 73-year-old Canadians celebrated an evening in grandeur and dignity, with altersweisem Wit, gratitude and great joy. He triumphs and stir. Cohen is not cult, it is church.
The stage in the run-step, a hagere figure in the black suit trousers, black jacket, grey shirt and the main Bühnenutensil, a dark felt hat, Cohen needs to Huldigungen receive and pay homage to his musicians. And as he sehnig the tense neck-forward reckt, does it like a mix of verschmitztem mafia godfathers and Morla, the wise turtle from the "Infinite history."
Display
He speaks gravitätische records from a distant world in which women are anbetungswürdig and lives not by the pursuit of the IPhone, but relief of pain and Wirrnis by the truth of beauty alone. Bedankt for the "privilege to be here for this luxury, this spiritual undertaking." The fact that not even the younger giggle, in addition to his happiness is the second small miracle.
Leonard Cohen is fit and resolved than ever, the new depth to register advanced voice only better, warm, full, umschmeichelnd, but also hard and precise as the grim-point first highlight of "Everybody Knows". It weighs in loungigen bars, his six band softly as unobtrusive background that they sometimes hard line between enamel and lard acts - and occasionally slipping in glibbrigen Saxsoli, was "Bird on the Wire" is not guttut.
But the disputes Ergriffenen not. Countless times, his musicians, including the "sublime" Webb Sisters from Kent and Sharon Robinson, for sirenenhafte garlands and the "Ba-da-dam" are responsible. Cohen is the great lover, receives and there - alone, as the fingers of his left hand the microphone cable umzärteln, witnesses longing burn.
Whether this is now exalted or maniriert, you have to be hartherzig in order to return their magic this occasion schnöden not quickly forget: That Cohen after his years in Zen monastery herabgestiegen came from the mountains to his retirement accounts empty. Five million will be his Exmanagerin abgezwackt, Cohen says it, say it is the courts. The money, however, is futsch. So he goes to work. But the stage by pension procurement measure leaves it to break hüpfend like a happy child. Even the sound check, he bestauntes a free concert.
Good net served two and a half hours of grand melancholy of a menu from 40 creative years, the big hits will receive one-berührtes animated audience of mostly mature ladies with peaceful men in the sold-out marketplace like a pardon from "Suzanne" and "Marianne" to the darkly biting "The Future". And if "Hallelujah" even those loud sing the song age rather from "Shrek" know some people may be surprised that it is not the heavenly gates rise to heimzuholen seekers. But this has apparently already too much.
As for the Cohen mind these days, the mix of dignified gravity, weihevollem sound and have a charming self-irony. The old struggles to keep their truth, but ausgestanden. On the day after an Obama brandet in jubilation when he sings "Democracy is coming - to the USA."
"Heres a man still working for your smile," Cohen sings at the end of this long Bühnenweihfestspiels broad smile. The tour, says his longtime co-author Sharon Robinson, "has started as a farewell. But now Leonard has so much joy and energy, that they no longer can be." On a new album they are working already. And what some weeks before the sad yet made after the cancellation of the Berlin forest stage concert, now sounds like a promise: "First we take Manhattan, then we take Berlin." On 4 October is it so far.
F.A.Z.
- July 27, 2008 by Rose-Maria Gropp (Fotos: dpa)
Tanz mich bis ans Ende der Liebe: Leonhard Cohen in Lörrach
27. Juli 2008 Lörrach im südlichen Dreiländereck hat jedes Jahr ein Festival, das „Stimmen“ heißt und die Leute scharenweise anlockt. Am Freitag abend aber sahen auch die „Stimmen 08“ einen ungeahnten, nie dagewesenen Höhepunkt. Leonard Cohen kam auf den Marktplatz des Städtchens zu seinem einzigen Konzert in Deutschland, während seiner ersten Tournee in Europa seit fünfzehn Jahren. Die Karten waren seit Monaten ausverkauft. Viele der gut fünftausend Leute, die da unter freiem Himmel standen, waren noch nicht einmal geboren, als die ersten Alben des Dichtersängers Ende der sechziger Jahre erschienen.
„Dance Me to the End of Love“ – Cohen betritt die Bühne, noch immer ein schöner Mann mit grauweißem Haar, in schwarzer Hose und Weste, mit grauem Hemd und dunklem, weichem Hut, den er den ganzen langen Sommerabend über immer wieder ziehen und in courtoiser Geste vor sein Herz halten wird, um seinem Publikum die Ehre zu erweisen. Denn er wird in den folgenden drei Stunden, ohne ein einziges Missverständnis, genau unterscheiden zwischen der Achtung vor den lauschenden Leuten und vor seinen phänomenalen Musikern und Sängerinnen – und der wunderbaren Ironie, die er, der am 21. September vierundsiebzig Jahre alt wird, seinen Liedern einzuflößen weiß.
Ein Glanz von innen
Mit einem Song also, der auch schon bald ein Vierteljahrhundert alt ist, ruft er die Gemeinde einer Sommernacht zusammen. Das muss man schon so nennen; denn Leonard Cohens Konzerte ähneln ohne jede Blasphemie dem Ritus und Rhythmus einer Messe. Er, der kanadische Jude, amalgamierte seine melancholischen Prophetien früh mit dem Erlösungsversprechen des Katholizismus – „now the flames they followed Joan of Arc“. In langer klösterlicher Zurückgezogenheit hat er vor einigen Jahren zum Zen-Buddhismus gefunden. Leonard Cohen ist ein Mann, den Spiritualität wie ein Glanz von innen umgibt.
Seine so charakteristische Stimme hat nichts von ihrer Kraft eingebüßt; es ist im Gegenteil so, dass ihre Tiefe und Weichheit und vollkommene Sicherheit noch gewonnen haben und diejenigen vor allem staunen machen, die Cohen schon früher live gehört haben: früher, als er noch the ladies’ man war (und genau der sein wollte), um die Zerbrechlichkeit der Welt in manchmal heiserem Flüstern zu intonieren, die Ferne von Gott und die Nähe zum Sex, als lasziver Untergeher, stets im Frauendienst stehend. Aber an diesem Abend holt er sich mit seiner Band – neben jenen eben, die in ihm den Vorsäger ihres juvenilen Blues vor gut einer Generation feiern – all die Nachgeborenen auf den Marktplatz in Lörrach.
Erfahren im Genuss
Er vermag das, weil über der Adoration der frühen Jahre angesichts seiner Texte, die allzu oft als gehobene Befindlichkeitslyrik dienten, die Bedeutung seiner Kompositionen übersehen wurde. Nun trägt ihn seine enorme Musikalität, diese unglaubliche Leichtigkeit der scheinbar so simplen Tonfolgen. Sie haben seine Songs in die Ohren gebohrt, mit ungezählten Cover-Versionen, vom frühen Joe Cocker bis zu Jennifer Warnes, von Nick Cave, John Cale oder R.E.M., Rufus Wainwright bis bin zum späten Johnny Cash. Zwischen dem ersten Album „Songs of Leonard Cohen“ und heute liegen mehr als vierzig Jahre – der Verehrung einer nächsten und übernächsten Generation ist das offenbar ein Nichts; sie hat ihren godfather in ihm. Und immer wieder geben Cohens Musiker lange, umjubelte Soli auf dem Saxophon und der Mundharmonika (Dino Soldo), auf der Bandurria (Javier Mas) oder dem Kontrabass (Roscoe Beck): dramatische und witzige, sentimentale und harte, elektrisch-stählerne (Bob Metzger).
Courteoisie im Dienst des Zuhörers: Cohen zieht den Hut ans Herz
Der feine Stil erlaubt dem Sänger wirklich jedes Lied, ohne den geringsten Anflug von Lächerlichkeit; denn Cohen amüsiert sich selbst. „I’m Your Man“, dieses ultimative Unterwerfungsangebot vom Ende der achtziger Jahre, als Cohen schon einmal zurückkam, singt er mit der Gelassenheit und mit dem wissenden Charme eines, der den Genuss erfahren hat – „if you want another kind of love, I’ll wear this old mask for you“. Cohen lässt auch die großartigen düsteren Lieder seines Albums „The Future“ von 1992 nicht aus, den harten Marsch von „Democracy is Coming to the U.S.A.“ oder das beschwörende „Anthem“. Er klimpert zum berühmten „Tower of Song“ ein bisschen auf einem kleinen Keyboard, er nimmt seine schwarze Gitarre, um den unsterblichen „Sisters of Mercy“ zu huldigen, und das, noch immer und immer wieder, atemraubende Pathos seines „Hallelujah“ unterwandert er selbst, indem er in den Text „Lörrach“ einfließen lässt. Es heißt ja, dass Cohen nur deshalb wieder auf Tournee gehe, weil seine langjährige Managerin ihn um die Dollarmillionen für sein Alter betrogen hat. Doch der Endzeitpoet präsentiert sich in unglaublicher Spiellaune; er ist sichtlich angerührt und inspiriert vom warmen Empfang seines Publikums, dessen Ausdauer.
Sinnlich und würdevoll
Wer Leonard Cohen zuletzt 1993 auf der Bühne gesehen hat, kann diese Transformation erkennen, die jedoch nicht Selbstentfremdung ist. Die unkaschierte schiere Erotik der früheren Jahre ist einer Vergeistigung gewichen, sinnlich und voller Würde. Immer wieder kniet er nieder auf der Bühne, er distanziert sich von sich selbst; immer wieder verweist er den brandenden Applaus an seine Musiker und seine Begleitsängerinnen Sharon Robinson und Charley und Hattie Webb – Ausdruck der Demut auch. Am Ende ist es elf Uhr nachts, am Himmel stehen die Sterne, und unten stehen noch seine Tausende Zuhörer, er sagt: „And here’s a man and he’s still working for your smile.“
Er arbeitet für Dein Lächeln: Leonhard Cohen, mittlerweile 74 jahre alt
Das Lächeln aller hat er an diesem südlichen Abend; nicht mehr nur das der Frauen zählt für ihn, das ihn stets getragen hat. Er verlässt die Bühne mit einem Segensspruch fürs Publikum, nach der andächtigen Stille begleitet ihn Jubel. Es ist das glückliche Gefühl eines unwiederbringlichen Moments. Es ist der große Leonard Cohen.
Die Erotik der frühen Jahre ist einer würdevollen Vergeistigung
gewichen: Der Sänger Leonard Cohen feiert in Lörrach heilige Messe, mit Hallelujah und allem Drum und Dran.
F.A.Z.
- July 27, 2008 by Rose-Maria Gropp (Photos: dpa)
Dance me to the end of love: Leonard Cohen in Lörrach
27th July 2008 Lörrach in the southern Dreiländereck each year a festival, the "Voices" is and the people scharenweise attracts. On Friday evening, but saw the "08 votes" a huge, unprecedented peak. Leonard Cohen came on the market square of the town for his only concert in Germany, during his first tour in Europe for fifteen years. The tickets were sold out for months. Many of the well-five thousand people, because under the open sky were, were not even born when the first albums of the singer poet late sixties published.
"Dance Me to the End of Love" - Cohen enters the stage, still a nice man with grauweißem hair, in black trousers and jacket, grey shirt and dark, soft hat, which he throughout the long summer evening and again and again draw courtoiser gesture in front of his heart will hold to his audience the honour to prove. He is listed in the following three hours without a single misunderstanding exactly distinguish between respect for the people and listening before his phenomenal musicians and singers - and the wonderful irony that he, on 21 September seventy-four years old, his songs einzuflößen white.
A shine from the inside
With a song So, who is also soon quarter-century old, he calls the town a summer night. This must be so called, because Leonard Cohen similar concerts without any blasphemy rite and the rhythm of a fair. He, the Canadian Jew, amalgamierte his melancholy Prophetien early redemption with the promise of Catholicism - "now the flames they followed Joan of Arc". In a long monastic retreat, he has a few years ago to Zen Buddhism. Leonard Cohen is a man, spirituality as a gloss from the inside surrounds.
His distinctive voice has so none of their power to it is the opposite so that their depth and softness and perfect security even have won and those especially amazed, which Cohen had previously heard live: earlier, when he was the ladies 'Man was (and still wanted to be exactly) to the fragility of the world in heiserem sometimes whisper to intone, the distance from God and the proximity to sex, as lasziver Untergeher always in the women's standing service. But this evening he brings with his band - in addition to those just out in his Vorsäger their juvenile Blues just over a generation to celebrate - all those later in the market place in Lörrach.
Find pleasure in
He can, because of the adoration of the early years in view of his writings, which are all too often seen as superior state of poetry served the importance of his compositions was overlooked. Now it bears his enormous musicality, this incredible lightness of seemingly so simple sounds. You have his songs in their ears drilled, with innumerable cover versions, from early Joe Cocker to Jennifer Warnes, Nick Cave, John Cale or REM, Rufus Wainwright am until the late Johnny Cash. Between the first album "Songs of Leonard Cohen" and today are more than forty years - the devotion to the next and the next generation is apparently a nothingness, it has its godfather in him. And always give Cohen musicians long umjubelte solos on the saxophone and harmonica (Dino Soldo), the Bandurria (Javier Mas) or bass (Roscoe Beck): dramatic, funny, sentimental and hard, electrically-steel (Bob Metzger ).
Courteoisie in the service of the listener: Cohen takes his hat heart
The fine style allows the singers really each song, without the slightest hint of ridicule, because Cohen himself amused "I'm Your Man", this ultimate subjugation offer from the late eighties, when Cohen ever came back, he sings with the With the serenity and charm of a knowing, the benefit has been - "if you want another kind of love, I'll wear this old mask for you". Cohen is also the great dark songs of his album "The Future" by 1992 was not, the hard march of "Democracy is Coming to the USA" or the evocative "Anthem". He klimpert the famous "Tower of Song" a bit on a small keyboard, he takes his black guitar to the immortal "Sisters of Mercy" to pay homage, and that still and always, breathtaking pathos of his "Hallelujah" he undermined even by looking in the text "Lörrach" influence. It says yes, that Cohen therefore only go on tour again, because his longtime manager him to the dollar million for his age betrayed. But the endtimes poet is presented in incredible game mood, he is visibly touched and inspired by the warm reception his audience, whose stamina.
Sensual and dignity
Who Leonard Cohen in 1993 on the last stage has seen, can recognize this transformation, but not self-alienation. The unkaschierte sheer eroticism of the previous years is given a spiritualization, sensuous and full of dignity. Again and again he kneels down on the stage, it dissociates itself from itself, again and again, he brandenden the applause of his musicians and his Begleitsängerinnen Sharon Robinson and Charley and Hattie Webb - also an expression of humility. At the end clock is eleven at night, the sky, the stars, and below are still thousands of his listeners, he says: "And here'sa man and he's still working for your smile."
He works for your smile: Leonard Cohen, now 74 years old
The smile all he has in this southern evening, not just the women counts for him, that he has always worn. He leaves the stage with a blessing for the audience award, after the andächtigen silence accompanies him jubilation. It is the happy feeling of a unique moment. It is the great Leonard Cohen.
The eroticism of the early years is a dignified spiritualization
given way: The singer Leonard Cohen celebrates Mass in Lörrach, Hallelujah and all drums and Dran.
In Lörrach ging gestern das 15. Stimmen-Festival mit dem Auftritt der Soul-Röhre Macy Gray zu Ende. 23 ?000 Personen besuchten die Konzertreihe.
Die Veranstalter bezeichnen den Auftritt des Altmeisters Leonard Cohen als Höhepunkt der diesjährigen Ausgabe. Alle Konzerte auf dem Lörracher Marktplatz und an den weiteren Veranstaltungsorten wie dem Park der Fondation Beyeler seien sehr gut besucht gewesen.
In Lörrach yesterday was the 15th Voices festival with the participation of soul-tube Macy Gray came to an end. 23 000 people attended the concert series.
The organizers described the appearance of the master Leonard Cohen as the high point of this year's edition. All concerts on the Lörracher marketplace and the other venues as the Park of the Fondation Beyeler were very well attended.
Unser Mann fürs Poetische: Leonard Cohens vorerst einziges Deutschlandkonzert in Lörrach
Lörrach - "Good night, my darling, I hope you're satisfied!", knurrt der Mann mit diesem unerhörten Bassbariton. Wie so oft an diesem Abend zieht er seinen Hut, breitet seine Arme aus und scheint jedem Einzelnen der 5000 Fans auf dem Lörracher Marktplatz tief in die Augen zu schauen, wenn er sich mit "I Tried To Leave You" verabschiedet.
Als sich der Bluesshuffle tiefer und tiefer in die Nacht gräbt, erzählt Leonard Cohen davon, wie schwer es ist, eine Liebe über viele Jahre aufrechtzuerhalten, verspricht aber, sich weiterhin alle Mühe zu geben: "Here's a man and he's still working for your smile" singt er und genießt grinsend den Applaus.
15 Jahre war Leonard Cohen nicht mehr auf Tour, und doch ist er nun 73-jährig auf die Bühnen zurückgekehrt und hat am Freitag beim Stimmen-Festival in Lörrach sein vorerst einziges Deutschlandkonzert gegeben. Das Abschiednehmen liegt dem kanadischen Songpoeten offensichtlich nicht. Auch nicht an diesem Abend. Drei Stunden dauert der Auftritt des Mannes, der im März in die Rock'n'Roll Hall of Fame aufgenommen wurde. Ob "I'm Your Man" oder "Suzanne" - kaum einen der Hits, die Cohen seit Ende der sechziger Jahre geschrieben hat, lässt er mit seiner neunköpfigen Band aus. Und noch immer betören diese "Songs Of Love And Hate" - so der Titel eines Cohen-Albums von 1971 - mit einer durchdringenden Poesie, die Schwermut und Verlangen, Spiritualität und Bitterkeit miteinander verbinden.
Raffiniert inszeniert Cohens Musical Director Roscoe Beck das Repertoire der Show, lässt Songs wie das düstere "The Future" oder das melancholische "The Gypsy's Wife" aus einem filigranen Geflecht aus Neil Larsons Hammondorgel und Javier Mas' Bandurria-Gitarre entstehen. Mal verwandelt sich die Band in eine 80s-Popcombo ("Ain't No Cure For Love"), mal in eine Wiener Schrammelkapelle ("Take This Waltz"), mal wird groovend mit dem Soul ("Boogie Street"), mal rockig mit dem Country ("Closing Time") geflirtet.
Zwar verliert sich hin und wieder die musikalische Inszenierung im Atmosphärischen. "So Long Marianne" verkommt dadurch fast zur Schunkelnummer, und bei "Hallelujah" überdeckt die gospelhafte Inszenierung die Brüchigkeit dieses Song-Meisterwerks. Doch meistens gibt es beim Auftritt in Lörrach empfindungsreich-pointierte Versionen der Cohen-Klassiker zu hören. Das seltsam entschleunigte "Bird On The Wire" zum Beispiel, das der zweite Gitarrist Bob Metzger mit raffinierten Blueslicks verziert. Oder "Who By The Fire", das sich aus einem Flamenco entfaltet.
Cohen genießt den Auftritt offensichtlich, sorgt dafür, dass seine Musiker nach jeder Soloeinlage beklatscht werden, albert mit den Backgroundsängerinnen herum und versetzt seine Lieder mit Selbstironie. Wenn er etwa in "Tower Of Song" wieder mal den selbstmitleidigen Alleinunterhalter mimt ("Well my friends are gone and my hair is grey / I ache in the places where I used to play") und den Applaus nach seinem Einfinger-Synthesizer-Solo mit dem sarkastischen "Thank you, music lovers!" kommentiert.
Während er seine Sängerinnen am Ende der Nummer dazu nötigt, in einer Endlosschleife "Du dam-dam-dam, du dam-dam" zu singen, behauptet Cohen, dass er endlich den Sinn des Lebens kenne. Nach einigem Zögern verrät der Songwriter und Dichter, der sich in den Neunzigern eine Zeit lang in ein buddhistisches Kloster zurückgezogen hatte, um sich der Zen-Meditation zu widmen und seither als Mönch den Namen Jikan (der Stille) tragen darf, die Antwort auf das große Mysterium der Existenz laute: "Du dam-dam-dam, du dam-dam."
Im Oktober kommt Leonard Cohen noch einmal nach Deutschland. Karten für die Konzerte in Berlin, München, Frankfurt, Hamburg und Oberhausen unter 0 18 05 / 5700 70
Our man for Poetic: Leonard Cohen's first single German concert in Lörrach
Lörrach - "Good night, my darling, I hope you're satisfied," snarls the man with this incredible bass-baritone. As so often this evening he moves his hat, spreads his arms and everyone seems the 5000 fans in the market place Lörracher deep into the eyes to see if it is with "I Tried To Leave You".
When the blues shuffle deeper and deeper into the night digs, Leonard Cohen tells of how difficult it is a love for many years maintained, but promises to continue every effort to give: "Here's a man and he's still working for your smile "He sings and enjoys the applause grinning.
15 years Leonard Cohen was not on tour, but he is now 73-years old on the stage and has returned on Friday when votes Festival in Lörrach his first single German concert. Take The farewell song is the Canadian poet obviously not. Also not part of this evening. Three hours of the appearance of the man who in March in the Rock'n'Roll Hall of Fame. Whether "I'm Your Man" or "Suzanne" - hardly any of hits, the Cohen since the late sixties, has written, he and his band of nine. And there are still beguile the "Songs Of Love And Hate" - the title of an album of Cohen-1971 - with a penetrating poetry, the melancholy and desire, spirituality and bitterness together.
Cleverly staged Cohen's musical director Roscoe Beck repertoire of the show, is the dark songs such as "The Future" or the melancholy "The Gypsy's Wife" from a delicate mesh of Neil Larsons Hammond organ and Javier Mas' Bandurria guitar. Time the band turns into a 80s-Popcombo ( "Is not No Cure For Love"), sometimes in a Viennese Schrammelkapelle ( "Take This Waltz"), will groovend times with the Soul ( "Boogie Street"), sometimes rocking with the Country ( "Closing Time") flirted.
Although lost every now and then staging the musical in atmospheric. "So Long Marianne" verkommt almost to Schunkelnummer, and "Hallelujah" over the gospelhafte staging the fragility of this song masterpiece. But mostly there are appearance in Lörrach empfindungsreich-Cohen pointed versions of the classics to hear. The strange entschleunigte "Bird On The Wire" for example, the second guitarist Bob Metzger Blueslicks decorated with refined. Or "Who By The Fire", which consists of a flamenco unfolded.
Cohen enjoys the obvious appearance, ensures that his solo musicians after each deposit beklatscht, albert with the background singers around and puts his songs with self-irony. If he as in "Tower of Song" once again the selbstmitleidigen solo entertainer mimes ( "Well my friends are gone and my hair is grey / I ache in the places where I used to play") and the applause after his introduction Inger synthesizer solo with the sarcastic "Thank you, music lovers!" commented.
During his singers at the end of the number required to, in an endless loop "You dam-dam-dam, you dam-dam" to sing, Cohen claimed that he had finally the meaning of life know. After some hesitation betrays the songwriter and poet, in the nineties for a while in a Buddhist monastery had withdrawn to the Zen meditation to devote as a monk and since the name Jikan (of silence) can bear the answer to the great mystery of the existence loud: "Du dam-dam-dam, du dam-dam."
In October Leonard Cohen once again to Germany. Tickets for the concerts in Berlin, Munich, Frankfurt, Hamburg and at Oberhausen 0 18 05 / 5700 70
15 Jahre war er nicht mehr auf Tournee.
Neun davon verbrachte er in einem Zen-
Kloster, um die Lehren des buddhistischen
Glaubens zu studieren. Im Frühjahr 2008
publizierte die im September 74 Jahre alt
werdende Legende der Rockpoesie unerwartet
erste Termine der kommenden Welt-
tournee. Am Freitag spielte er auf dem
ausverkauften Marktplatz in Lörrach (ca.
7000 Besucher) sein einziges Deutschland-
konzert in diesem Sommer.
Der Mann mit der ,,goldenen Stimme“, wie
er sich alternd in ,,Tower Of Song“ beschreibt,
wusste mit den ersten angespielten Tönen und
Textzeilen seiner wie vertonte Gedichte
anmutenden Lieder zu verzaubern.
Neue Songs gab es außer ,,Boogie Street“
und ,,In My Secret Life“ in dem knapp
dreistündigen Ausnahmekonzert kaum.
Im Mittelpunkt standen eher Songs wie
,,Suzanne“, ,,So Long Marianne“ oder
,,Bird On A Wire“, die Cohen bereits vor
40 Jahren sang und seitdem vielmehr
für seinen Kultstatus als ,,Großmeister
der Melancholie“ stehen.
Mit ,,Hallelujah“, dem wie ein Stoßgebet der Gefühle
gen Himmel wirkender Chorgesang aus
dem 1984er ,,Various Positions“-Album wird
die Bedeutung Leonard Cohens für die
Rockmusik klar: Kein anderer – außer
vielleicht Bob Dylan – weiß die Macht des
Wortes mit musikalischer Harmonie und
Präzision so zu vereinen. Kein anderer scheint zu wissen,
dass Liebe und Hass, Leben und Tod, Leid
und Freude lediglich Geschwister und somit
untrennbar voneinander sind. Kaum ein
anderer scheint zu wissen, dass diese Ge-
schwister im Hause menschlicher Empfind-
ungen die gleiche Etage, Raum an Raum
bewohnen. Leonard Cohen haucht diesem
Haus mit tiefem Timbre Leben ein und macht
es zu einer Kirche für ähnliche Empfindende.
Und so wirkt der kanadische Rockpoet
denn auch wie ein Hohepriester. Begleitet von
seiner neunköpfigen Band offeriert er
Lied für Lied manchmal
bluesorientiert (,,Who By Fire“), oft auch jazzlastig
arrangiert (,,Democracy“) und gelegentlich
auch rockig (,,First We Take Manhattan“).
Sein Haar mag grau geworden sein, aber seine
Freunde sind geblieben. In Lörrach
kamen sie alle zusammen, um sich wie ,,Jünger“
gleich in einer andächtigen Messe
verzaubern zu lassen.
15 years, he was no longer on tour.
Nine of them spent in a Zen -
Monastery to the teachings of the Buddhist
Faith to study. In spring 2008
published in September 74 years old
Rock legend of expectant poetry unexpectedly
the first events in the coming World
tour. On Friday, he played on the
sold-out market place in Lörrach (approx.
Visitors 7000) single-Germany
concert this summer.
The man with the 'golden voice ", as
he is growing old in, "Tower of Song" describes
knew with the first sounds and angespielten
Lines of text shall designate as his poems
sounding songs to enchant.
New songs were the exception, "Boogie Street"
and, "In My Secret Life" in the nearly
three-concert hardly the exception.
The focus was more songs like
, "Suzanne", "So Long Marianne" or
, "Bird On A Wire", which even before Cohen
40 years since sang and rather
for his status as a cult, Grand Master
the melancholy ".
With, "Hallelujah," the prayer as a shock of emotions
heavenward-looking chorus from
the 1984er, "Various Positions" album
the importance for the Leonard Cohen
Rock music clear: No other - except
maybe Bob Dylan - knows the power of
Word with musical harmony and
Precision to unite. No other seems to know
that love and hate, life and death, suffering
and joy only siblings and thus
inseparable from each other. Hardly
others seem to know that this business
schwister in-house human sensitivity -
ungen the same floor, room to room
inhabit. Leonard Cohen brings this
House with a deep timbre and makes life
to a church for similar Empfindende.
And so does the Canadian rock poet
as well as a high priest. Accompanied by
his nine-band, he offers
Song for song sometimes
bluesorientiert ( "Who By Fire"), often jazzlastig
arranged ( "Democracy") and sometimes
also rocking ( "First We Take Manhattan").
His hair may become gray, but his
Friends are still there. In Lörrach
they all came together in a relaxed, "disciple"
equally in a fair andächtigen
to enchant.
Leonard Cohen Live:
25.07. - Lörrach, Marktplatz, Stimmen Festival
Intro
- July 30, 2008 by Kristina Engel (Photo: Richard Groulx)
Ein Platz in der Mitte der Fußgängerzone einer größeren Kreisstadt, gesäumt von Einkaufspassagen, Banken und einem Hotel, an dessen Fenstern Menschen lehnen. Vor der Bühnen stehen erwartungsvoll 5000 Menschen, das Konzert ist ausverkauft. Ungewöhnliche Dimensionen für ein Leonard-Cohen-Konzert, denkt man sich, aber schön, so intim.
Der Beginn ist laut Eintrittskarte für 20 Uhr angekündigt. Einen Support-Act soll es nicht geben. Und wirklich: Schon kurz nach acht betreten sechs Musiker und drei Sängerinnen (darunter Cohens langjährige Ko-Autorin, Produzentin u. a. Sharon Robinson) die Bühne. Dann folgt, frenetisch empfangen vom Publikum, ein sichtlich gut gelaunter Leonard Cohen, ganz schlicht gekleidet in schwarze Hose, schwarze Weste, graues Hemd, und - ganz wichtig - er trägt einen schwarzen Hut. Irre, der Headliner beginnt bei Tageslicht ohne großartige Lightshow! Das kommt genauso schlicht rüber wie dessen Kleidung.
"Dance Me To The End Of Love" eröffnet das Set. Da ist sie, diese Stimme: so unverkennbar mit ihrem dunklen, weichen Timbre. Wenn irgendwer auf ein Festival namens "Stimmen" gehört, dann dieser große Singer/Songwriter. Der Draht zwischen Zuschauern und Künstler ist sofort da. Im Folgenden reiht sich Song an Song, nur wenige sind mir unbekannt, das letzte Album "Dear Heather" (2004) ist gar nicht vertreten, "Ten New Songs" von 2001 mit nur zwei Songs. Ein Greatest-Hits-Abend also. Das hätte ich so nicht erwartet, freue mich aber sichtlich, all diese früher so oft gehörten Songs zum ersten Mal live erleben zu dürfen.
Puristisch ist der ganze erste Block gehalten: Die Musik kommt ruhig rüber, bescheiden ist das Auftreten des fast 74-Jährigen (!), der viel jünger rüberkommt: Er post nicht mit weltumarmenden Gesten, nein, in der rechten Faust das Mikro, in der linken dessen Kabel trägt er seine Songs vor. Seinen Mitmusikern gewährt er viel Raum, stellt sie unzählige Male vor, wobei er immer höflich, nein, respektvoll seinen Hut zieht und ans Herz hält. Genau auf diese Weise kommuniziert er auch mit uns - das nimmt ein, irgendwo ganz tief.
Nach einer Pause folgt "Tower Of Song". War Cohen bisher eher in sich gekehrt, ja, spirituell rübergekommen, zeigen sich nun humoristische Akzente bei dem alten Mann: Seine Keyboard-Begleitung (bebrillt, das Alter!) landet zum Schluss in einer Endlosschleife ("I don't stop"), das Do-dam-dam seiner Sängerinnen entsprechend auch - aufgelöst wird die Chose, indem er seine eigene Spiritualität ad absurdum führt.
Der erste fette Höhepunkt, wo plötzlich voll aufgefahren wird, ist "Hallelujah": Das Publikum wird, euphorisch mitsingend, angestrahlt. Huch, es ist ja ganz unbemerkt dunkel geworden, schon zehn vor zehn! Klar, gleich wird das Ende des Konzertes eingeleitet ... Doch mitnichten! Es geht Hit um Hit weiter! Nach "Take This Waltz" verabschiedet sich dieser unvergleichliche Entertainer alter amerikanischer Schule, um doch tatsächlich mit "So Long, Marianne" zurückzukehren. Und ich dachte, das würde sich durch "Suzanne" (irgendwann vorher) verbieten. Würde es wohl auch bei jemand anderem. Hier wird immer öfter am Grat zum Kitsch agiert - und jedes Mal löst es sich auf in ... ja, wunderbare Momente. Apropos: "If It Be Your Will" fängt ganz groß an - Cohen rezitiert wie schon einige Male zuvor die ersten Zeilen, hier wird er fühlbar: der große Poet, der eigentlich gar nicht Songwriter werden wollte -, um dann ins Unermessliche zu wachsen: Die Schwestern Charley und Hattie Webb covern Cohen, während dieser ehrfürchtig (den Hut in der Hand, versteht sich) danebensteht. Ihr Gesang erobert himmlische Dimensionen, intimer kann die Atmosphäre nicht mehr werden!
Doch, nein, na ja, fast: Da bedankt sich dieser höfliche alte Mann doch tatsächlich nach einem dreistündigen Konzert bei uns, dem Publikum, seine Musik spielen, dieses Projekt (seine Welttournee) durchführen zu dürfen. Dann: "Thank you, friends, for this memorable evening. We won't forget!" Danke, Herr Cohen, das kann ich nur zurückgeben. Es war ein Ereignis!
PS: Es folgen weitere Deutschland-Konzerte im Oktober, unbedingt hingehen!
Leonard Cohen Live:
25.07. - Lörrach, Marktplatz, Stimmen Festival
Intro
- July 30, 2008 by Kristina Engel (Photo: Richard Groulx)
A place in the middle of the pedestrian zone of a larger district town lined with shopping malls, banks and a hotel, whose windows people reject. Before the stages are looking forward to 5000 people, the concert is sold out. Unusual dimensions for a Leonard-Cohen-concert, you think, but beautiful, so intimate.
The beginning is loud ticket for 20 clock announced. A Support Act should not exist. And really: Shortly after eight entered six musicians and three singers (including Cohen's longtime co-writer, producer including Sharon Robinson) the stage. Then, frenetic received by the audience, a visibly good gelaunter Leonard Cohen, quite simply dressed in black trousers, black jacket, grey shirt, and - most important - he wears a black hat. Deception, the headliner starts in daylight without great light show! This is just simply being as its clothing.
"Dance Me To The End Of Love" opens the set. As it is, this voice so distinctive, with its dark, soft timbre. If someone at a festival called "Voices", then this great Singer / Songwriter. The wire between audience and artist is now there. The following ranks song to song, few are unknown to me, the last album "Dear Heather" (2004) is not represented, "Ten New Songs" of 2001 with only two songs. A Greatest Hits evening also. The so I would not expect, but am obviously, all these earlier songs were so often for the first time to live.
Purist is the whole first block kept the music is being quiet, modest, the incidence of nearly 74-year-olds (!), The much younger across: He not post weltumarmenden gestures, no, in the right thumb the micro, in the left its cable he wears his songs. His musicians he granted a lot of space, it countless times before, but he always politely, no, respectfully moves his hat and heart holds. Precisely in this way he communicates with us - that is, somewhere very deep.
After a pause followed by "Tower of Song". Cohen was so far rather be swept in, yes, spiritually rübergekommen show now humorous accents in the old man: His keyboard accompaniment (bebrillt, age!) Finally lands in a loop ( "I do not stop") the Do-dam-dam according to his singers too - dissolved the Chose by his own spirituality ad absurdum.
The first bold climax, where suddenly fully aufgefahren is "Hallelujah": The audience is enthralled mitsingend, illuminated. Huch, it is quite dark unnoticed has been nine fifty! Sure, equal to the end of the concert launched ... But anything! It is to Hit Hit! After "Take This Waltz" adopted this incomparable entertainer old American school, but in fact with "So Long, Marianne" return. And I thought that would be by "Suzanne" (sometime before) ban. Would it probably at someone else. Here is increasingly on the ridge to kitsch acts - and each time to solve it ... yes, wonderful moments. Speaking: "If It Be Your Will" starts quite large - as Cohen recites a few times before the first lines, he will be felt here: the great poet, which actually does not Songwriter wanted to be - and then into Unermessliche to grow: The sisters Charley and Hattie Webb covers Cohen, during this awesome (the hat in hand, of course) danebensteht. Her vocals captured heavenly dimensions, intimate atmosphere can no longer be!
But, no, well, almost: As grateful that this polite but in fact old man after a three-concert at us, the audience, his music, this project (his world tour) to carry out. Then: "Thank you, friends, for this memorable evening. We will not forget!" Thank you, Mr. Cohen, I can only return. It was an event!
PS: Germany followed by further concerts in October, necessarily go!
Compilation - The Future, Bird On A Wire, Everybody Knows, Who By Fire, Hey, That's No Way To Say Goodbye, Anthem, Suzanne, Tower Of Song, So Long, Marianne, Hallelujah, First We Take Manhattan, Sisters Of Mercy, If It Be Your Will, Whither Thou Goest zaagsa - August 1, 2008 http://www.youtube.com/watch?v=RT0mZIzqnHI
A nice display of pix by ebbbi of both the soundcheck and concert.
Blog - Chisako - "And the baffled old man was singing 'hallelujah'" ...Leonard was really energetic for his 74 years, jumping around like a child sometimes, kneeling down as if in prayer, playing the guitar and the keyboard. I has happy to see him smile so much, knowing that he was moved by the fact that so many people came to see him...
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
Take This Waltz
LUCCA - Cinquemila persone hanno applaudito il musicista canadese nel concerto di chiusura del Summer Festival 2008. Ad appluadire Cohen anche Beppe Grillo e Biangio Antonacci, seduti l'uno accanto all'altro in tribuna.
Cohen ha iniziato il suo lungo spettacolo con ''Dance me to the end of love'' per poi proporre gran parte dei pezzi piu' famosi del suo repertorio. Gli applausi piu' caldi e sentiti sono arrivati dalle migliaia di persone assiepate di fronte al grande palco sovrastato da Palazzo Ducale. Una folla di appassionati che ha avuto qualche problema a trovare una collocazione nelle diverse aree della platea, fra transenne messe di traverso e proteste dalle file retrostanti cadute nel vuoto.
LUCCA - Cinquemila people have applauded the Canadian musician in concert closing Summer Festival 2008. For appluadire Cohen also Beppe Grillo and Biangio Antonacci, seated side by side in the gallery.
Cohen began his long show with''Dance Me to the end of love''and then propose most of the pieces' famous of his repertoire. The applause more 'warm and felt they arrived by thousands of people assiepate facing the big stage dominated by Palazzo Ducale. A crowd of fans who had some problems to find a place in different areas of stalls, including barriers put across and protests by file behind falls on deaf ears.
Ci si inquieta per i 65 anni appena compiuti di Mick Jagger, ma la chiusura del Summer Festival l'altra sera in piazza Napoleone a Lucca sposta la sorpresa, e la consegna ad un ben più maturo ed eclatante eroe, che ne farà 74 il 21 settembre: Leonard Cohen è di ritorno sulle scene live dopo tre lustri, uno dei quali passato in un monastero zen californiano, dov'è stato ordinato monaco con il nome iniziatico Jikan (il Silenzioso). Ingrassato a dismisura, poi dimagrito tanto che ora pare un fuscellino, in tutto questo tempo L.C. è stato pure derubato di 5 milioni di dollari dalla ex manager Kelly Linch, condannata nel 2004 a risarcirlo e però scomparsa nel nulla. Dell'inquietante faccenda i fans sempre un po' egoisti ringraziano, perché essa ha certo a che fare con la fantastica riapparizione nel mondo dei concerti del compassato scrittore e poeta canadese, autore di mille incantevoli canzoni, nume ispiratore di un giovane Fabrizio De André.
Abitante del sempre più spopolato Olimpo di coloro che hanno tenuto alto il profilo della musica popolare, Cohen ha un carisma lucente quanto un'aureola, ed è di tutt'altra pasta rispetto a Mick. Si capisce che deve detestare il giovanilismo, lui, mentre lavora in composta ironia a procurarsi nuovamente la pensione. Sul palco, fa deliberatamente spettacolo della terza età, in panciotto grigio, camicia azzurra, Borsalino calato sugli occhi o portato al cuore quando ringrazia, scoprendo i capelli d'argento e fissando un poco meravigliato, con i suoi occhi azzurri, quei 6 mila del pubblico in estatica contemplazione. Dietro la facciata veneranda, ha vezzi che sparigliano le carte della terza età: si allontana dal palco saltellando come un ragazzetto, si inginocchia sovente a cantare e si alza in un nanosecondo. E soprattutto, ti piazza lì quasi tre ore di concerto, roba che diglielo a Chris Martin e si sentirebbe male. Ieri sera, ha pure ricantato a Roma.
Non si smetterebbe di ascoltarlo. La voce calda, e cavernosa da 2 milioni di sigarette, culla i pensieri e l'anima iniziando il viaggio da «Dance Me To the End of Love». E' musica ipnotica di sopraffina fattura. Arrangiamenti squisiti con una band di 5 elementi in cui spiccano la mandola e la chitarra di Mas Javier e il sax, clarino e armonica di Dino Soldo; ma il nerbo sono i cori delle due giovani sorelle Webb e di Sharon Robinson, con la quale intreccia in «Boogie Street» sensuali atmosfere che ci ricordano la sua tempra di «ladies man», il donnaiolo che mai ha negato di essere (anzi). C'è qualcosa di primitivo in lui quando si accovaccia accanto al chitarrista sulle note di «Bird on the Wire», o si inginocchia per «I'm Your Man»; i sospiri del pubblico fanno da sfondo a una essenzialissima «Suzanne», la sua canzone più celebre. C'è una solennità pacata, venata di sarcasmo, sopra l'organo Hammond con l'acclamata «Hallelujah» o la vagamente marziale «Democracy»: si capisce che l'uomo ama la speranza, quando di fronte alla statua di Maria Luisa di Borbone (che egli chiama simpaticamente «Paolina» visto che si è in piazza Bonaparte), lancia messaggi di speranza: «E' bello stare qui di fronte a Paolina, mentre il mondo attraversa un periodo buio e preoccupante: ma torneremo a divertirci». Prende in giro, e fa bene: «Ho studiato filosofia, cerco il senso della vita, non credo nel dividere ma nel dare. La chiave che mi si è rivelata è in questo "du-dom-dom"», se la ride nel finale di «Suzanne», alludendo al coro delle sue girls. Nei lunghissimi bis si affacciano «Sister of Mercy» e una eccellente «First We Take Manhattan», e c'è spazio per la recitazione in «I'll be Your Will».
La platea è al 90 per cento di americani; i biglietti da 80,60, 40 euro lasciano fuori il popolo italiano che forse non sa neanche più chi sia il mitico Leonard; però sono presenti vip in massa, da Grillo in abbronzatura da muratore al pallidissimo Friedmann, da Epifani a Biagio Antonacci all'arbitro Collina. Tutti estasiati (dir trionfo, è poco).
We worried for 65 years just made of Mick Jagger, but the closure of Summer Festival the other evening in the square Napoleon in Lucca the surprise move, and delivery to a much more mature and striking hero, who will be 74 on 21 September: Leonard Cohen is back on the scene live after three Shines, one of whom spent in a Zen monastery California, where monaco was ordained under the name Jikan initiatory (Silent). Ingrassato to excess, then slimmed so that now seems a fuscellino, throughout this time LC was also robbed of 5 million dollars by the former manager Kelly Linch, convicted in 2004 and risarcirlo but disappeared into thin air. Dell'inquietante affair fans always a little 'thank selfish, because it certainly has to do with the fantastic reappearance in the world of concerts of compassato Canadian writer and poet, author of a thousand beautiful songs, many inspired a young Fabrizio De André.
Abitante, increasingly depopulated Olimpo of those who have held high the profile of folk music, Cohen has a charisma shining as un'aureola, and is quite pulp than Mick. You must understand that detestare the youth, he, as he composed in irony to obtain re-retirement. On the stage, he deliberately spectacle of the third age, gray vests, blue shirt, Borsalino fell on the eyes or lead to heart when thanked, discovering their hair silver and setting a little surprised, with his blue eyes, 6 thousand of those public in ecstatic contemplation. Behind the facade venerable, vezzi that sparigliano cards from the third age: are away from the stage saltellando as a ragazzetto, kneels to sing and often rises in a nanosecond. Above all, you square there almost three hours together, stuff that diglielo to Chris Martin and would feel bad. Yesterday evening, also ricantato in Rome.
Smetterebbe not to listen. The warm voice, and cavernosa by 2 million cigarettes, the cradle thoughts and soul starting the trip to "Dance Me To the End of Love". E 'hypnotic music of sopraffina bill. Arrangements delicious with a band of 5 elements that stand out the mandola and guitar Javier Mas and sax, clarinet and harmonica Dino Soldo, but the backbone are the choirs of two young sisters Webb and Sharon Robinson, with which intertwines in "Boogie Street" sensual atmosphere that remind us of his hardening of 'ladies man', the donnaiolo than ever denied that it be (even). There is something primitive in him when accovaccia next to guitarist on the notes of "Bird on the Wire" or kneels' I'm Your Man '; sighs of the public are the background to a essenzialissima' Suzanne ' his most famous song. There is a solemnity calm, venata of sarcasm, on the Hammond organ with the acclaimed 'Hallelujah' or vaguely martial 'Democracy': we understand that man loves hope, when in front of the statue of Maria Luisa of Bourbon (which he calls pleasantly 'Pauline' because you square Bonaparte), launches messages of hope: "It 'nice to be here in front of Pauline, while the world through a dark period and worrying, but come back to have fun." It takes around, and does well: "I studied philosophy, try the meaning of life, I do not believe in divide but in giving. The key to me was that in that "du-Sunday-Sunday" if the ride in the final of 'Suzanne', alluding to the chorus of his girls. In a long face 'Sister of Mercy "and an excellent' First We Take Manhattan", and there is room for acting in "I'll be Your Will."
The audience is at 90 percent of Americans; tickets from 80.60, 40 euros leave out the Italian people who may not even know who the most legendary Leonard, but there are VIPs en masse, from Grillo in tanning by the mason pallidissimo Friedmann, Epifani at Biagio Antonacci all'arbitro Hill. All estasiati (dir triumph, is poorly).
LUCCA (29 luglio) - E’ magica la notte di Leonard Cohen, guru della musica sbucato dal mare di un silenzio prolungato alla rispettabile età di 73 anni (che a settembre saranno 74). Sarà quella voce che sembra venire dal profondo, sarà l’imperturbabilità compiaciuta della propria lentezza, mentre si specchia in un’eleganza fatta di pochi tocchi, di sussurri, di suoni centellinati, puri come cristalli. Ci vuole davvero un maestro per un autocontrollo così sublime. Ci vuole, forse, un’astinenza così lunga (quindici anni) per arrivare a tanta, assoluta sobrietà. E ci vuole un lungo allenamento spirituale (il prolungato ritiro in convento) per incantare a tal punto, per trovare simile equilibrio. Tre ore di musica leggera e potente, schiaffo esemplare a tanti inutili schiamazzi, a tanti finti spettacoli di luci e suoni. Il guru è un oggetto non identificabile, un intervallo sospeso nel tempo della musica che corre, con il suo elogio della lentezza e quella voce così calda e così terrena che trasmette la sicurezza che viene dalla certezza delle idee.
Eccolo, allora, di nuovo in pista, mentre sussurra le sue canzoni per tre ore filate. Canta, si inginocchia, saltella quando esce di scena e quando rientra, c’è anche una ironia sottile quando dice, fermando la musica: «Ho trovato la chiave dopo tanto cercare nella filosofia e nella religione, volete sapere la risposta che mi si è rivelata? Eccola». E il coro intona «du dan dan da, du du dan dan» epica chiusura di Tower of song, uno dei gioielli del suo repertorio. E chissà che, con quel piccolo gioco, il guru non voglia far capire di aver ritrovato fino in fondo il gusto di far musica. Sorride Cohen, svelando il suo volto affilato solo quando alla fine di ogni pezzo si leva il cappello per ringraziare dell’accoglienza che riceve la sua preziosa mercanzia musicale. La piazza di Lucca è piena zeppa (e ricca di ospiti, perfino Beppe Grillo è stato rabbonito da tanta clamorosa bellezza) per quest’ultima suntuosa puntata del Summer festival di D’Alessandro & Galli e si lascia stregare da quell’incantatore (che ieri sera ha ripetuto la sua funzione nella Cavea dell’Auditorium romano e il 23 ottobre tornerà per esibirsi a Milano). Un rito che prende il via dalle note della deliziosa Dance to the end of love, dove la voce baritonale si impasta in un arrangiamento sottilmente klezmer.
L’orchestra sfodera un accompagnamento impercettibile: la batteria che usa soprattutto le spazzole, l’organo hammond che aggiunge brevi tocchi sanguigni, il fantastico chitarrista spagnolo, Javier Mas che esibisce con discrezione una vera collezione di mandole e chitarre spagnole, il formidabile multistrumentista, Dino Soldo, che passa dal sax al clarino all’armonica all’Ewi (uno strumento a fiato elettronico), il bassista Roscoe Beck, che è il caporchestra, e le tre coriste guidate da Shannon Robinson, collaboratrice fidata dell’ultimo Cohen. Ecco The future, ballata rock storica (era in Natural born killers di Oliver Stone) che canta: «Ho visto il futuro ed è solo delitti». Ecco Bird on the wire, Everybody knows, quasi un mantra con il verso che dà il titolo ripetuto all’infinito, Who by fire che offre un assolo di chitarra. Ecco il capolavoro Suzanne, condita al minimo: chitarra e piccoli accenni del coro e un bass clarinet. Trova spazio la brava Shannon Robinson in Boogie street, mentre Halleluja ha il sapore di una preghiera soul condita dall’Hammond, con Cohen che si inginocchia. C’è ancora spazio per Democracy, per So long Marianne, per la potente First we take Manhattan, per Sister of mercy. Vorrà dire che un giorno bisognerà ringraziare l’ex manager che gli ha ripulito i conti bancari, spingendolo di nuovo nella mischia.
LUCCA (July 29) - 'magical night of Leonard Cohen, guru of music sbucato by a sea of silence extended to the respectable age of 73 years (which will be September 74). It will be that voice that seems to come from the depths, will be the imperturbabilità welcomed its slowness, while reflected in elegance made a few touches, whispers, sounds centellinati, pure as crystal. It takes really a master for a self so sublime. It takes perhaps un'astinenza so long (fifteen years) to so much, absolute sobriety. And it takes a long workout spiritual (the prolonged withdrawal in the convent) to enchant so, to find such balance. Three hours of light music and powerful slap exemplary to many unnecessary schiamazzi, many fake shows of lights and sounds. The guru is an object not be identified, suspended in a time of music that runs, with his praise of slow and that voice so warm and so on earth that transmit the security that comes from the certainty of ideas.
Here, then, again on the track, while whispers his songs for three hours spun. Sing, kneels, skipping when leaving the scene and when it falls, there is also a subtle irony when he says, stopping the music: "I have found the key after searching from both philosophy and religion, do you want to know the answer I was revealed? Here it is. " And the chorus intones' du dan dan da, du du dan dan 'epic closure of Tower of song, one of the jewels of his repertoire. And who knows that with that little game, the guru does not want to make it clear that it had found up at the bottom of the taste of making music. Cohen She smiles, revealing his face sharpened only when at the end of each piece rises his hat to thank the reception it receives its valuable merchandise music. The square is full of Lucca zeppa (and full of guests, even Beppe Grillo was rabbonito by such resounding beauty) for the lavish episode of Summer festival of D'Alessandro & Galli and leaves stregare from quell'incantatore (which yesterday evening he repeated his role in Roman Cavea dell'Auditorium October 23 and will return to perform in Milan). A rite that takes away from the notes of delicious Dance to the end of love, where the voice baritonale is impasta in an arrangement subtly klezmer.
The orchestra accompanying sfodera an imperceptible: The battery that uses mainly brushes, the Hammond organ adds that short touches blood, the great Spanish guitarist, Javier Mas discreetly that performs a true collection of mandole and Spanish guitars, the formidable multistrumentista, Dino Soldo, going from sax to clarinet all'armonica all'Ewi (an electronic wind instrument), bassist Roscoe Beck, who is the caporchestra, and the three coriste led by Shannon Robinson, trusted collaborator of Cohen. Here is The future, historical rock ballad (it was in Natural born killers of Oliver Stone) who sings: "I have seen the future and it is only crimes". Here Bird on the wire, Everybody knows, almost a mantra with the verse that gives the title repeated ad infinitum, Who by fire which offers a solo guitar. This is the masterpiece Suzanne, seasoned to a minimum: guitar and small hints of a chorus and bass clarinet. Find a good space in Shannon Robinson Boogie street, while Halleluja has the flavor of a prayer dall'Hammond seasoned soul, with Cohen that kneels. There is still room for Democracy, So long Marianne, for the powerful First we take Manhattan, Sister of mercy. Will say that one day we will thank the former manager who has cleaned up bank accounts, pushing new in the melee.
Leonard Cohen indimenticabile sul palco del Summer Festival
LoSchermo
- July 28, 2008 by Paolo Ceragioli (Photos by Enrico Stefanelli)
LUCCA - Pietra miliare nella storia del Summer Festival, il concerto di Leonard Cohen è stata un'esperienza incredibile, esaltante, indimenticabile. Domenica sera, 27 luglio,in una serata afosissima, il grande poeta-cantautore canadese ha incantato gli oltre cinquemila fans accorsi in piazza Napoleone, tenendoli inchiodati alle loro sedie per tre ore. Settantaquattro anni sulle spalle ma classe, fascino e tante cose ancora da dire e insegnare a tutti. Parterre vip della grandi occasioni: oltre al sindaco Mauro Favilla, all'assessore alla cultura Letizia Bandoni e al presidente della Provincia Stefano Baccelli, il presidente della Regione Claudio Martini, il segretario della Cgil Guglielmo Epifani, Beppe Grillo, Biagio Antonacci e il solito ex-arbitro, oggi designatore, Pierluigi Collina.
A sensazione, "a caldo", quello di Leonard Cohen è stato il più bel concerto mai visto al Summer. Tante le ragioni: l'eccezionalità di un tour dopo quindici anni di assenza dalle scene, l'età dell'artista canadese, ma soprattutto un carisma, una freschezza d'espressione e di proposte che lasciano ancora oggi stupefatti.
Quasi tre ore di musica, tanto per cominciare. Il via alle 21,30, puntualissimo, mentre la gente doveva ancora in parte accomodarsi in platea, secondo il solito malcostume che vuole che si arrivi, tutti insieme, dieci minuti prima dell' inizio: all'estero, questi bei campioni sarebbero stati lasciati fuori. In gilet, con cravatta americana e cappello nero, quest'ultimo subito tolto in segno di saluto, Cohen sorride e inizia il set con la mediterranea "Dance me to the end of love", ma questa specie di valzer è solo un assaggio dell'epopea dell'amore, che il grande canadese ha alternato a un chiaro impegno sui temi del sociale e anche poiltico.
E "The future" è una lucida visione dell'umanità prossima ventura ("Ho visto il futuro ed è assassinio". L'alternanza dei temi è la colonna portante dello spettacolo: "Ain’t no cure for love", "Bird on the wire", uno dei classici più amati dal suo pubblico (e si sente); poi "Everybody knows", "In my secret life" e "Who by fire", aperta dall'assolo di chitarra flamenca di Javier Mas. Chiudono la prima ora di show la toccante "Hey, that's no way to say goodbye" e "Anthem". La voce chiara e profonda di Cohen è davvero in gran spolvero e la band mantiene un tono medio perfetto, al quale i cori e l'organo hammond danno un impronta soul-gospel abbastanza "nera".
Dopo un quarto d'ora si riparte con "Tower of song", uno dei brani più ripresi dai rockers di oggi (cercate la cover di Nick Cave!) e sulla quale Cohen, sul coro finale trova il modo di scherzare: "Credo di aver capito oggi qual è la chiave della vita, dopo anni di studi, di ricerca e di filosofia... Volete saperlo? Ta doo run run.... Eccolo!". Poi imbraccia la chitarra per "Suzanne" ed è un boato. Con "Gypsy wife", ancora Javier Mas con la bandurria, mandolino spagnolo elettrificato e "Boogie Street" con Sharon Robinson a far sentire la sua voce.
Arriva "Hallelujah" e Cohen si inginocchia per questa meravigliosa preghiera (che Jeff Buckley interpretò con l'anima) che tutti cantano in coro e dove domina l'hammond di Neil Larsen. Da sottolineare però anche la poliedricità dell'ottimo Dino Soldo, da Cohen presentato come "Master of wind", che ha suonato da ottimo solista dall'armonica al sax, dal clarinetto a uno strumento elettronico dal suono somigliante alla fisarmonica. Tutti in piedi e si riparte con "Democracy", altra frustata verso quei potenti che si arrogano di questa parola per giustificare i propri interessi (leggi USA).La sempre splendida "I'm your man" e "Take this waltz", che chiude il cerchio "danzante" iniziato con "Dance me...", portano a fine set, dopo un'altra ora di musica, con la platea ormai in piena esaltazione, compresi i tanti vip in tribuna.
E siamo ai bis: "So long Marianne" è un altro boato, ma ormai la gente è in piedi e "First we take Manhattan" la colpisce come un rasoio. Qui Cohen sembra davvero un giovane rocker alla conquista del mondo. Esce e poi rientra, con qualche passo di corsa ed ecco "Sister of mercy" e poi "If it be your will", altra preghiera affidata al coro delle due sorelle Webb e "Closing time", giusta chiusura (così sembrerebbe) della serata. E invece, c'è ancora tempo per "I tried to leave you", sull'ineluttabilità dell'amore e il coro "a cappella" di "Whither thou Goest", altro momento spiritualmente altissimo. Stavolta è finita davvero. La gente se ne va, con la consapevolezza di aver partecipato, stavolta, a un vero evento. E un gruppo di giovani, verso l'uscita, ancora canta "Hallelujah"...
Leonard Cohen unforgettable on stage the Summer Festival
LoSchermo
- July 28, 2008 by Paolo Ceragioli (Photos by Enrico Stefanelli)
LUCCA - Stone milestone in the history of the Summer Festival, the concert of Leonard Cohen was an incredible experience, exciting and unforgettable. Sunday evening, July 27, in an evening afosissima, the great Canadian poet-singer has enchanted the more than five thousand fans realized in the square Napoleon, keeping nailed to their chairs for three hours. Settantaquattro years on the shoulders but class, charm and yet many things to say and teach everyone. Parterre VIPs of big occasions: in addition to Mayor Mauro Favilla, all'assessore culture Letizia Bandoni and the President of the Province Stefano Baccelli, the chairman of the Region Claudio Martini, the secretary of Cgil Guglielmo Epifani, Beppe Grillo, Biagio Antonacci and the usual ex - arbitrator, today designator, Pierluigi Collina.
A feeling, "hot", that of Leonard Cohen was the most beautiful concert ever seen in Summer. Lots of reasons: the exceptional nature of a tour after fifteen years of absence from the scene, the Canadian artist's age, but above all a gift, a freshness of expression and proposals that leave still amazed.
Almost three hours of music, for a start. The path to 21.30, puntualissimo, while people still had to partially sit in the stalls, according to the usual malpractice that wants to arrive, all together, ten minutes before the 'start: abroad, these beautiful samples were left out. In waistcoat, tie with American and black hat, the latter immediately removed as a sign of greeting, Cohen smiles and begins on September with the Mediterranean "Dance Me to the end of love" but this sort of waltz is just a taste of ' epic of love, that the great Canadian has alternated with a clear commitment on the themes of social and poiltico.
And "The future" is a glossy vision of humanity next venture ( "I have seen the future and it is murder." The alternation of the themes is the backbone of the show: "Is not no cure for love", "Bird on the wire ", one of the most beloved classics from his public (and feels), then" Everybody knows "," In my secret life "and" Who by fire, "open dall'assolo flamenco guitar Javier Mas. Chiudono the the first hour of the show moving "Hey, that's no way to say goodbye" and "Anthem." The voice clear and deep Cohen is indeed largely dusting and the band maintains a tone perfect medium to which the choirs and the body hammond make an imprint soul-gospel enough "black".
After quarter of an hour it again with "Tower of song," one of the songs included more than rockers today (look for the cover of Nick Cave!) And on which Cohen, on the final chorus finds a way to joke: "I think have understood what is today the key to life, after years of study, research and philosophy ... You want to know? Ta doo run run .... Here it comes. " Then imbraccia guitar for "Suzanne" and is a roar. With "Gypsy wife", yet Javier Mas with the bandurria, mandolin Spanish electrified and "Boogie Street" by Sharon Robinson to make its voice heard.
Arriva "Hallelujah" and Cohen kneels for this wonderful prayer (that Jeff Buckley interpreted with the soul) that all sing in chorus and dominated the hammond Neil Larsen. From stress but also very encouraging poliedricità Dino Soldo, Cohen presented as a "master of wind" that has played by the excellent soloist dall'armonica sax, clarinet to an electronic instrument sound like the accordion. All standing and again with "Democracy", another powerful frustata towards those who arrogano of this word to justify their interests (read USA). The always wonderful "I'm your man" and "Take this waltz," which closes the circle "Dancing" began with "Dance Me ...", lead at the end of September, after another hour of music, with the audience now in full exaltation, including many VIPs in the gallery.
And we are to be inserted: "So long Marianne" is another roar, but now people are standing and "First we take Manhattan" the strikes as a razor. Here Cohen seems really a young rocker to conquer the world. Exit and then falls, with some travel and behold "Sister of mercy" and then "If it be your will", another prayer entrusted to the chorus of two sisters Webb and "Closing time", just closing (so it seems) of the evening . Instead, there is still time to "I tried to leave you," sull'ineluttabilità of love and the choir "a cappella" of "Whither thou Goest", other times spiritually very high. This time is really finished. People leave, with the knowledge that they have participated, this time, a true event. And a group of young, toward the exit, still sings "Hallelujah" ...
Thanks to Gianfranco Nitti for providing the link to this article.
Blog - The Vinyl Villain - "GIG REVIEW : LEONARD COHEN - LUCCA, 27 JULY 2008" ...The Man himself is humble and the songs are delivered with a stylish, witty elegance. Off course we get the classics – Susanne, Bird on the Wire, No Way To Say Goodbye, Last Waltz, and Manhattan. He plays guitar on a few and after the interval he plays a little keyboard and no-one is alarmed...
Der Beginn ist laut Eintrittskarte für 20 Uhr angekündigt. Einen Support-Act soll es nicht geben. Und wirklich: Schon kurz nach acht betreten sechs Musiker und drei Sängerinnen (darunter Cohens langjährige Ko-Autorin, Produzentin u. a. Sharon Robinson) die Bühne. Dann folgt, frenetisch empfangen vom Publikum, ein sichtlich gut gelaunter Leonard Cohen, ganz schlicht gekleidet in schwarze Hose, schwarze Weste, graues Hemd, und - ganz wichtig - er trägt einen schwarzen Hut. Irre, der Headliner beginnt bei Tageslicht ohne großartige Lightshow! Das kommt genauso schlicht rüber wie dessen Kleidung.
