Tour Reviews and Other Memories from
LEONARD COHEN WORLD TOUR Summer 2010

July 25, 2010
Zagreb, Croatia
Arena Zagreb

 Set List for July 25
24Sata article & photos
Jutarnji List review & photos
Net.hr article & photos
Muzika.hr review & photos
SEEbiz review & photo
Nacional.hr article & photos
Jutarnji List review & photo
Vecernji.hr review
T-Portal.hr review & photos
RTL.hr review
Soundguardian review & photos
Dnevnik.hr review & photos
She.hr review & photos
Dalje review & photos
Hrsvijet review & photo
NoviList review & photo
Zurnal review
Nacional.hr article & photo
Youtube
July 27, 2010
Salzburg, Austria
Salzburgarena

 Set List for July 27
Salzburger Nachrichten review & photo
der Standard.at review & photo
Salzburger Nachrichten review
Tiroler Tageszeitung review
OÖNachrichten review
Kronen Zeitung review & photos
Thanks to Jarkko for sharing
Youtube
July 28, 2010
Graz, Austria
Stadthalle

 Set List for July 28
Kleine Zeitung article & photos
Kleine Zeitung review
Youtube

Next
Sligo, Ireland
Malmö, Sweden
Oslo, Norway
Stockholm, Sweden
Helsinki, Finland








Zagreb, Croatia

Set List - July 25, 2010

Per Paul Zagreb 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
Heart With No Companion
Waiting For The Miracle
The Flood (recitation)
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Gypsy Wife
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You










Zagreb, Croatia

ENGLISH VERSION.

Leonard Cohen Arenu je na kratko pretvorio u kabaret

24Sata - July 25, 2010 by Ruzica Matic (Photos: Z. Hladika/Pixsell)

Hvala vam puno, odgovorio je Leonard Cohen (76) na oduševljeni pljesak kojim ga je docekala puna zagrebacka Arena. Na pozornicu je izašao u svom karakteristicnom crnom odijelu i šeširu. Dugoocekivani koncert otvorio je hitom 'Dance Me Till the End of Love'. Jednostavna, ali efektna scenografija i masivne baršunaste zavjese Areni su dale kabaretski ugodaj. Cohenove godine vide se na njegovom licu, a glas mu je jednako baršunast i mocan i zvuci kao na studijskoj snimci. Vrhunski koncert upotpunila je odlicna svirka pratecih glazbenika, a pratece pjevacice pokazale su da im nisu samo glasovi mocni vec da su i gipke te su oduševile publiku napravivši 'zvijezde' kao prave gimnasticarke.



  














Translated by Google Translate

Leonard Cohen arena was briefly turned into a cabaret

24Sata - July 25, 2010 by Ruzica Matic (Photos: Z. Hladika/Pixsell)

Solid velvet drapes the Zagreb Arena gave a special atmosphere, and as soon as she started singing Cohen's fans took in a completely different world ...

Thank you very much, he replied Leonard Cohen (76) to the enthusiastic applause which greeted him was full of Zagreb Arena. On stage, he came in his typical black suit and hat. The long awaited concert opened the hit "Dance Me To The End Of Love'. Simple but effective design and massive velvet curtain Arena gave a cabaret atmosphere. Cohen was visible on his face, his voice is velvety and powerful and it sounds like the studio recordings. Premium concert completes a great gig supporting musicians and background singers showed their voices are not only powerful but also flexible and have enthralled audiences making a 'star' as a real gymnast.










Zagreb, Croatia

ENGLISH VERSION.

Bozanski glas: Cohenov pjesnicki dubok nastup bio je doista velicanstven

Jutarnji List - July 25, 2010 by Aleksandar Dragaš (Photos: Damir Krajac/CROPIX)

ZAGREB - Iako je u Zagrebu nastupio prvi put, gotovo cetiri i pol desetljeca otkako je kao 33-godišnji kantautor objavio debitantski album "Songs Of Leonard Cohen" (1967), jedan od najvecih i najcjenjenijih pjesnika popularne glazbe stigao nam je na valu obnovljenog interesa za njegove pjesme i karijeru, zahvaljujuci povratnickoj turneji - nakon petnaestak godina izbivanja sa scene - poduzete zbog praznjenja bankovnog konta od strane bivše menadzerke te zbog sjajnog dvostrukog albuma "Live In London". Tko je slušao taj album ili odgledao DVD s istog nastupa, snimljenog 17. srpnja 2008. u londonskoj O2 Areni znao je što moze ocekivati i u zagrebackoj Areni, a tko god je zbog Cohena doputovao u Zagreb, nakratko prekinuo ili se vratio s godišnjeg ili pomaknuo oldazak na isti, definitivno nije pogriješio.

Unatoc koncu donedavno pakleno vrelog srpnja, Arena je bila više nego solidno ispunjena publikom koja je od samog pocetka koncerta salvama aplauza i burnim povicima oduševljenja pozdravljala svaku pjesmu velikog pjesnika, njegove gospodske naklone šeširom, zahvale na toplom prijemu i najave skladbi. Pracen savršeno uigranim sastavom u kojem posebice briljira gitarist Javier Mas iz Barcelone, dok trio pratecih pjevacica predvodi dugogodišnja Cohenova suradnica i koautorica nekih od najboljih njegovih pjesama Sharon Robinson, Cohen je vrlo suvereno "komandirao" dobro poznatim skladbama - od prve "Dance Mo Te The End Of Love" i prorocanske "The Future" preko "Bird On A Wire", Everybody Knows, "In My Secret Life" i "Who By Fire" do "Tower Of Song", "Suzanne", "Hallelujah", "So Long Marianne" i drugih "vjecnih melodija" velikog barda.

Cohenov glas danas je još dublji nego prije pa on danas doista zvuci poput "starog mudraca", no zapravo je izuzetno cio, povremeno cak i duhovit i vedar "starcic" u zavidnoj glasovnoj i tjelesnoj kondiciji, posebice za nekoga tko je godinama bolovao od depresije koju je cesto pretakao u ljubavne i one druge pjesme. Mozda je to stvar osobnog ukusa, ali baš te druge pjesme s cinicnim komentarima "demokracije", "buducnosti" i "politike" - mozda i zbog trenutka u kojem smo ih slušali uzivo u Zagrebu, trenutka u kojem se sve oko nas lomi, rastace i raspada - dojmile su me se više od onih Cohenovih skladbi koje, cak i kad to nisu, publika kojoj to nema nitko pravo zamjeriti dozivljava poput romanticnih izljeva velikog šarmera. Stihovi koje je ispisao pocetkom 90-ih u skladbi "The Future" - "Vratite mi Berlinski zid, vratite mi Staljina i St. Paul/Vidio sam buducnost, brate, to je ubojstvo/Stvari klize, klize u svim smjerovima/Nece biti niceg, niceg što bi mogao mjeriti" - doista se doimaju poput prorocanskog videnja svijeta bez cvrstih mjerila i ideala u kojem nitko više ne zna što je lijevo, a što desno, što ispravno, a što pogrešno.

Premda na prvi pogled Arena nije "prirodan" milje za tihog i intimnog kantautora koji nastup ne gradi na scenskim akrobacijama, pirotehnici i zaglušujucem razaglasu nego na osobnoj neposrednosti, glazbenickoj svecanosti te decentnosti pjesama, Cohen nije imao nikakvih problema pri ovladavanju takvim, prilicno velikim prostorom. Dapace, na kristalno cistom razglasu - vec dugo nitko nije imao tak odobar zvuk na koncertima u nas - svaki ton Cohenovog glasa i svaka nota glazbenika rezonirali su posebnim ugodajem i dojmom. Iako posvema klasican, pa cak i pomalo staromodan - posebice u usporedbi s koncertima modernih pop zvijezda - Cohenov pjesnicki dubok, ali i kavalirski šarmantan nastup bio je doista velicanstven, kako zbog Cohenovog "bozanskog" glasa, tako i zbog finih stilskih mijena prateceg sastava u rasponu od americkih glazbenih idioma poput countryja preko šansonjerskog ugodaja do klezmer, mediteranskih i arapskih ornamenata. Ironija sudbine, ali da ga menadzerka nije opelješila vjerojatno nikada ne bismo uzivali u savršenom Cohenovom koncertu Zagrebu.

Uz to, Cohen je u Zagreb stigao samo mjesec i pol dana nakon izrazito dojmljivog "ukazanja" Boba Dylana na Šalati pa je razloga za usporedbu i scensku dojmljivost dvojice velikih pjesnika bilo poprilicno. Ukusi na stranu, svjedocili smo velikim i vaznim koncertima za "zreliju" publiku pa ostaje zakljuciti kako su Dylan i Cohen odigrali izrazito dojmljivih 1:1 pri kraju još jedne bogate zagrebacke i hrvatske koncertne sezone. Ukratko, najveci pjesnici popularne glazbe po prvi su put u Zagreb stigli u poznim godinama, ali ne i prekasno da ne bi pruzili istinski lijepe i nezaboravne koncerte.






















Translated by Google Translate

Divine voice: Cohen's deep poetic performance was truly magnificent

Jutarnji List - July 25, 2010 by Aleksandar Dragaš (Photos: Damir Krajac/CROPIX)

ZAGREB - While in Zagreb, appeared the first time, nearly four and a half decades since the 33-year-old singer released debut album "Songs Of Leonard Cohen" (1967), one of the largest and most respected poets of popular music came to us on a wave of renewed interest for his song and his career, thanks to his comeback tour - after fifteen years of absence from the scene - taken for emptying bank accounts by former manageress and the great double album "Live In London". Who listened to this album or watching a DVD with the same performance, recorded 17th July 2008 at London's O2 Arena knew what to expect in Zagreb Arena, and whatever is due to Cohen arrived in Zagreb, briefly interrupted or returned from the annual or shifted oldazak the same, definitely not wrong.

Despite the end of the recently unbelievably hot July, the Arena was filled with more than a solid audience that from the very beginning of the concert salvo of applause and loud cries of delight greeted each song a great poet, his hat Gospodske kindness, gratitude for the warm reception and Announcements playlist. Accompanied by a perfectly coordinated ensemble, in which particularly brilliant guitar player Javier Mas , Barcelona, while the accompanying trio led by singer longtime associate of Cohen and co-author of some of the best of his poems Sharon Robinson, Cohen is a sovereign "commanded" the well-known songs - from the first "Dance Me To The End Of Love," "prophetic" The Future "over the" Bird on a Wire, Everybody Knows, "In My Secret Life" and "Who By Fire" and "Tower of Song," "Suzanne," "Hallelujah," "So Long Marianne "and other" eternal melodies "great bard.

Cohen's voice today is even deeper than before, and today it really sounds like "the old sage," but in fact it is very hearty, occasionally even witty and cheerful "gaffer" in the enviable voice and physical fitness, especially for someone who has for years suffered from depression which is often emptied into love, and those other songs. Maybe it's a matter of personal taste, but just as well as other songs from the cynical comments of "democracy", "future" and "politics" - perhaps because of the time in which we listened to them live in Zagreb, the moment in which everything around us is broken, disintegrates and decay - have impressed me more than Cohenovih compositions, even when they are not, the audience that it has no right to blame anyone seen such a large outpouring of romantic charmer. The verses which he wrote at the beginning of the 90s on "The Future" - "Please give me the Berlin Wall, come to me Stalin and St. Paul / I've seen the future brother, it is murder / things slide, slide in all directions / Will not be nothing , nothing that could be measured "- really looks like a prophetic vision of the world without firm standards and ideals in which no one knows what the left and the right, which right and what is wrong.

Although at first glance, the Arena is not a "natural" miles to the Pacific and intimate performance by singer-songwriter who does not build on stage acrobatics, deafening and pyrotechnics razaglasu but on a personal immediacy, a musical celebration and decentnosti songs, Cohen had no trouble mastering these, quite a large space. Indeed, the crystal-clear sound - a long time nobody had tak odobar sound at concerts in the country - each Cohenovog tone of voice, each note rezonirali musicians have a special atmosphere and feel. Although absolutely classic, and even a bit old fashioned - especially compared to concerts of modern pop stars - Cohen's poetic, profound, but chivalrous and charming performance was truly magnificent, both because Cohenovog "divine" voice, but also because of subtle stylistic changes in the composition of the accompanying range of American musical idioms, such as country music through the atmosphere šansonjerskog to klezmer, Mediterranean and Arabian ornaments. The irony of fate, but that it was manageress opelješila probably never would have enjoyed in perfect concert Cohen Zagreb.

In addition, Cohen came to Zagreb a month and a half after a very impressive "Apparition" by Bob Dylan on Salata and the reason for the comparison and scenic dojmljivost two great poets were quite. Tastes aside, we witnessed a large and important concerts for the "mature" audiences and remains to conclude that Dylan and Cohen played a very impressive 1-1 at the end of another wealthy Zagreb and Croatian concert season. In short, the greatest poets of popular music for the first time in Zagreb came in later years, but not too late not to provide a truly beautiful and memorable concert.










Zagreb, Croatia

ENGLISH VERSION.

Trosatna ekstaza uz Leonarda Cohena

Net.hr - July 26, 2010 by M.L. (Photos: Zeljko Jelenski)

Prvi zagrebacki koncert kultnog kantautora ispunio je sva ocekivanja mnogobrojne publike koje je gotovo popunila Arenu i salvama aplauza pozdravljala svaku njegovu pjesmu, te na kraju nagradila njegov nastup od puna tri sata.

Nakon gotovo pola stoljeca karijere, Leonard Cohene je konacno nastupio u Hrvatskoj pred deset tisuca obozavatelja.

Snimke njegovih live nastupa i price sretnika koji su imali prilike ranije poslušati njegove nastupe bile su najbolja moguca reklama za ovaj koncert.

Unatoc tome što su zagrebacke ulice poluprazne, Cohenovi fanovi su gotovo napunili Arenu.

Slavni glazbenik je svojim bozanskim glasom, koji je s godinama dobio dublju i profinjeniju notu, savršenim pratecim bendom i pratecim pjevacicama, koje je predvodila njegova dugogodišnja suradnica i koautorica Sharon Robinson, odrzao nastup za pamcenje.

Unatoc prostoru Arene i tisucama poklonika njegove glazbene koji su se okupili na koncertu, Cohen i njegov bend uspjeli su stvoriti intimnu klupsku atmosferu i pocastili su publiku nekim od glazbenikovih najvecih hitova poput Bird On A Wire, So Long Marianne, Tower Of Song, Suzanne, Dance Me Te The End Of Love...


























Translated by Google Translate

Three-hour ecstasy by Leonard Cohen

Net.hr - July 26, 2010 by M.L. (Photos: Zeljko Jelenski)

The Zagreb concert of cult singer-songwriter met all my expectations many audience that nearly filled the Arena and the salvo of applause greeted his every song, and finally rewarded his performance by a full three hours.

After nearly half a century of his career, Leonard Cohen has finally appeared in Croatia ten thousands of fans.

Recordings of his live performances and stories of the lucky ones who had the opportunity to listen to his earlier performances were the best possible advertisement for this concert.

Despite being half-empty streets of Zagreb, Cohen fans are almost filled the Arena.

The famous musician with his divine voice, which over the years gained a deeper and subtle touch, the perfect backing band and background singers, led by his longtime collaborator and co-author Sharon Robinson, gave a performance to remember.

Despite the Arena area and thousands of fans of his music who had gathered at the concert, Cohen and his band have managed to create an intimate club atmosphere and honored the audience with some of the biggest hits like glazbenikovih Bird On A Wire, So Long Marianne, Tower of Song, Suzanne, ance Me To The End Of Love...










Zagreb, Croatia

ENGLISH VERSION.

Zagreb je pokorio, uskoro ce i Berlin

Muzika.hr - July 26, 2010 by Mark Vukusic (Photos: Ivica Drusany)

Zagrebacka publika je u nedjelju po prvi put uzivala u nastupu jednog od najvecih kantautora svih vremena, Leonarda Cohena.

Vjerojatno zbog velike guzve na ulazu, Cohen je odstupio od svoje uobicajene tocnosti, te je koncert poceo 25 minuta nakon najavljenih 20 h. Za guzvu bismo mogli optuziti naviku hrvatske publike da nonšalantno dode u zadnji tren, no bit ce da je na to dolazenje u zadnji tren utjecalo i dugotrajno kruzenje po kvartu u potrazi za bilo kakvim mjestom gdje se moze ostaviti auto.

Ljudi vole svoje aute, nece ih se lako nagovoriti na javni prijevoz, a busevi su ionako bili puni - da su svi koji su došli autima odlucili ici javnim prijevozom svejedno bi nastao kaos. Mozda bi pametnije umjesto šoping centra u blizini dvorane bilo graditi veliku garazu, sigurno bi i stanari Laništa koje posjetitelji Arene sa svojim autima uvijek izlude bili sretniji.

U trenutku kad se Cohen pojavio na pozornici cijela dvorana je ustala i zapljeskala da se pokloni zivucoj legendi. Nastup je poceo s "Dance Me To The End Of Love", klececi pored gitarista kao da uštimava svoj duboki glas. Onda se ustao i uhvatio ritam s publikom i andeoskim zenskim back vokalima ('speaking of angels') koji su mu vec preko 20 godina glavni glazbeni oslonac. Danas ih cine sestre Webb i dugogodišnja suradnica Sharon Robinson. Slijedila je "Future" kojoj je falilo malo energije, no vec se na "Ain't No Cure For Love" Cohenov glas zagrijao.

"Bird On The Wire" je dobila španjolski aranzman, a "Who By Fire" flamenco uvod na akusticnoj gitari (Cohenov gitarist Javier Mas je iz Barcelone). Tijekom potonje i Cohen je uzeo crnu gitaru u ruke. Nakon hipnoticke "Everybody Knows", prvi taktovi "In My Secret Life" polucili su najveci aplauz do tada.

Nakon "Heart With No Companion" u country štihu i "Waiting For The Miracle", Cohen je porucio publici da mu je cast nastupati za njih veceras te je izrecitirao nekoliko stihova iz "Anthem" prije nego li mu se prikljucio cijeli bend koji je zatim predstavio, posebno naglasivši ulogu Sharon Robinson, 'suradnicu i koautoricu pjesama poput "Everybody Knows" i "In My Secret Life"'. Cohen i bend su skupa sa publikom zatim uzeli kratku pauzu.

Kad se vratio, Cohen je zahvalio publici što nije otišla kuci, te je sam na sintisajzeru odsvirao "Tower Of Song" uz poznati programirani jednostavni ritam. Publika je velikim pljeskom nagradila primitivni solo na sintisajzeru na što se Cohen nasmijao ('you're very kind'), a još jedan velik pljesak je izmamio i stih "I was born with the gift of a golden voice".

Cohen je zapoceo "Suzanne" sam s akusticnom gitarom, a slijedile su "Sisters Of Mercy", "Gypsy's Wife" i "Partisan" koja je opet polucila veliki aplauz.

Koncert ce potrajati preko tri sata, tijekom kojih ce Cohen prošarati gotovo cijelom karijerom - ignorirani su jedino posljednji album "Dear Heather" i zloglasna suradnja s Philom Spectorom "Death of a Ladies' Man", dok je najviše prostora dobio album-prekretnica "I'm Your Man" iz 1988. godine s kojeg je odsvirano cak 6 pjesama.

"Boogie Street" je Sharon otpjevala solo. Nakon "Hallelujah" ("I didn't come all this way to Zagreb to fool you") i "I'm Your Man" ("I'll wear my old man's mask for you") koja je dobila ogromni aplauz, uslijedila je "Take This Waltz" tijekom koje je Cohen opet predstavio bend i za kraj se naklonio i kleknuo, na što je cijela dvorana još jednom ustala i zapljeskala.

Na bis se nije dugo cekalo. Poceo je sa "So Long, Marianne". Publika više nije sjedala, a na refrenu je cijela dvorana i zapjevala, da bi uskoro svi pljeskanjem dali ritam za "First We Take Manhattan". Culi smo još "Famous Blue Raincoat", "If It Be Your Will" koju je Cohen prvo kratko izrecitirao, a zatim su je Webb sestre otpjevale solo, te "Closing Time" nakon koje je 75-godišnji Cohen doslovno odskakutao s bine, tek da bi se za cas trkom vratio na još jednu stvar, "I Tried To Leave You", završivši nastup sa stihovima: "I hope you're satisfied... here's a man still working for your smile".

Osmjehe publike je zaradio majstorskim nastupom. Iz ugladenog barda je zracila iskrena vedrina, a glas mu je i dalje od cvrstog zlata, pa nije cudo da su tri sata proletjela za tren. I u poznim godinama (koje mu lako ne primijetite) Leonard Cohen je prvak svog zanata.






















































Translated by Google Translate

Zagreb has been subdued, and Berlin will soon

Muzika.hr - July 26, 2010 by Mark Vukusic (Photos: Ivica Drusany)

Spectators on Sunday for the first time enjoyed the performance of one of the greatest singer-songwriter of all time, Leonard Cohen.

Probably due to large crowds at the entrance, Cohen stepped down from his usual accuracy, and the concert began 25 minutes after the announced 20 h. For the crowds that we can accuse the habit Croatian nonchalant crowd that came to the last moment, but it must be that it is arriving at the last minute and long-term impact on the circulation in the neighborhood looking for any place where you can leave the car.

People love their cars, they will not be easy to persuade the public transport and buses have already been filled - to all who came to cars decided to go by public transport would still be created chaos. You may be smarter for the shopping center near the hall was built a large garage, make sure the tenants Lanista that visitors arena with their cars still foolish happier.

At a time when Cohen appeared on stage the whole room got up and applauded to worship zivucoj legends. The performance began with "Dance Me To The End Of Love", kneeling next to a guitarist uštimava his deep voice. Then he stood up and grabbed the rhythm with the audience and angelic female backing vocals ('speaking of angels') to him for over 20 years the main musical support. Today they are sisters Webb and longtime collaborator Sharon Robinson. Following the "Future" which was lacking a little energy, but has been on "Ain't No Cure For Love" Cohen's voice warmed up.

"Bird On The Wire" won the Spanish arrangement, "Who By Fire" flamenco intro on acoustic guitar (Cohen's guitar player Javier Mas from Barcelona). During the latter, and Cohen took a black guitar in hand. After the hypnotic "Everybody Knows", the first bars of "In My Secret Life" obtain the greatest applause by then.

After "Heart With No Companion"in the country verse and "Waiting For The Miracle", Cohen told the audience that he was honored to perform for them tonight and izrecitirao few lines from "Anthem" before he joined the entire band is now presented, particularly emphasizing the role of Sharon Robinson, 'associates and co-author of songs like "Everybody Knows" and "In My Secret Life". Cohen and the band were set with the crowd and then took a short break.

When he returned, Cohen thanked the audience is not left the house, and I played synthesizer on "Tower Of Song" by famous programmed a simple rhythm. The audience was great applause rewarded primitive synthesizer solo on what Cohen laughed ('You're very kind'), and another great applause elicited and verse "I was born with the gift of a golden voice." Cohen began a "Suzanne" I am with an acoustic guitar, followed by "The Sisters of Mercy," "Gypsy's Wife" and "Partisan", which again became a great applause.

The concert will take over three hours, during which Cohen would decorate almost entire career - were ignored only last album "Dear Heather" and the notorious collaboration with Phil Spector, "Death of a Ladies' Man", while most areas received a milestone album- "I'm Your Man" from 1988, year from which even played 6 songs.

"Boogie Street" is Sharon sang a solo. After the "Hallelujah" ("I did not come all this way to Zagreb to fool you") and "I'm Your Man" ("I'll wear my old man's mask for you ), which got huge applause, followed by is "Take This Waltz" in which Cohen was again introduced the band and eventually bowed and knelt on the whole hall once stood up and applauded.

The encore was not long awaited. He started with "So Long, Marianne." The audience is no longer a seat, and the chorus the whole hall and sang, so that soon all the applause given the pace for "First We Take Manhattan." We have heard yet, "Famous Blue Raincoat, "If It Be Your Will" by Cohen izrecitirao at first, and then the Webb sisters sang solo, and "Closing Time" followed by a 75-year-old Cohen literally odskakutao the stage, only to be rushed back for a moment on one thing, "I Tried To Leave You," and ended the show with the lyrics: "I hope you're satisfied ... here's a man still working for your smile."

Smiles of the audience has earned a master performance. From the polished Bardem radiated a sincere optimism, and his voice is still a solid gold, so it is no wonder that the three hours flew for a moment. And in later years (which he does not easily notice) Leonard Cohen is a champion of his craft.










Zagreb, Croatia

ENGLISH VERSION.

Leonard Cohen oduševio 10.000 u zagrebackoj Areni

SEEbiz - July 26, 2010

ZAGREB - Za ovu turneju mozemo zahvaliti pokvarenoj knjigovotkinji i menadzerici koja je legendarnog pjesnika i trubadura ostavila bez centa u dzepu i s dugovima i tako natjerala da se još jednom otisne u stvaranje fonda za lagodne umirovljenicke dane, te da se tako još jednom stasom i glasom ukaze svojim štovateljima širom svijeta.

Zagrebacka Arena vjerojatno nije baš prvo mjesto koje biste odabrali za takav susret, pozeljeli biste vjerojatno nešto komorniju atmosferu prikladniju repertoraru covjeka u crnom, no, onda bi karta morala biti još mnogo skuplja, a Cohen bi morao odraditi još koju turneju.

Bez obzira na to, cini se da je dojam vecine da se Arena nije bila nikakva prepreka za uspostavljanje nuznog kontakta izmedu izvodaca i publike te da se, unatoc middle-of-the-road pakiranju inace jedinstvenog glazbenika - radi o nezaboravnom dozivljaju. Cohen na pozornicu nije djelovao poput umirovljenika, osim što mu je glas s godinama sve 'muzevniji', a on i njegov raspolozeni deseterolclani bend svirali su tri sata uz kracu pauzu. I zvuk je zadovoljavao, što inace u Areni nije pravilo.

U set listi nije bilo toliko pjesama iz najranije klupske kantautorske faze, pa su dominirale one iz razdoblja kad je Cohen vec poceo svirati po stadionima i ovakvim sportskim dvoranama, no nije preskoceno ništa od onoga što se od njega ocekivalo. Koncert je otvorio sDance Mo Te The End Of Love, stvar koja je Zagrepcane podigla na noge bila je I'm Your Man, a za 'kraj' je ostavio Take This Waltz. Naravno, Cohen ni Zagrepcanima nije uskratio bis, izlazio je na pozornicu još dva puta, 'opraštajuci se uz So Long Marianne, Closing Time te za pravi kraj I Tried To Leave You.








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Leonard Cohen delighted the 10,000 in Zagreb Arena

SEEbiz - July 26, 2010

ZAGREB - In this tour we can thank pokvarenoj knjigovotkinji and manager of the legendary poets and minstrels left without a cent in your pocket is debt , and so forced to once again venture into the creation of the fund for relaxing retirement days, and so once more stature and voice stress his worshipers around the world.

Zagreb Arena is probably not the first place you'd choose for such an encounter, you probably wanted something more appropriate atmosphere chamber repertoraru man in black, but then the ticket must be much more expensive, and Cohen would have to do a few more tour.

Nonetheless, it seems that the majority opinion that the Arena was no obstacle to the establishment of the necessary contact between performers and audience and that, despite the middle-of-the-road package or a single musician - an unforgettable experience. Cohen did not act on the stage like a pensioner, except that his voice over the years all 'muzevniji', and he and his mood deseterolclani band played for three hours with a short break. And the sound is satisfactory, or that the arena is not the rule.

The set list was not so much songs from the earliest stages kantautorske club, and was dominated by those from the period when Cohen had already begun to play at these stadiums and sports venues, but has not skipped anything from what is expected of him. The concert opened Dance Mo Te The End Of Love, a thing which the people of Zagreb rose to his feet was I'm Your Man, and 'end' left Take This Waltz. Of course, Cohen is not even citizens of Zagreb withheld bis, appearing on stage two times, 'forgiving with So Long Marianne, Closing Time and the right end I Tried To Leave You.










Zagreb, Croatia

ENGLISH VERSION.

Leonard Cohen oduševio publiku u zagrebackoj Areni

Nacional.hr - July 26, 2010 (Photo: Zeljko Hladika/PIXSEL)

Legendarni kanadski kantautor i pjesnik Leonard Cohen je u nedjelju navecer odrzao koncert u zagrebackoj Areni. Na pozornici se pojavio u svom vec prepoznatljivom crnom odijelu i šeširu, a hit kojim je otvorio koncert u glavnom gradu Hrvatske bio je 'Dance Me Till the End of Love'.

Inace, Cohena smatraju najutjecajnijim glazbenikom i kantautorom suvremene glazbe. Poceo je pisati još 50-ih godina, a glazbom se poceo baviti 60-ih, otkad je objavio 11 studijskih albuma s pjesmama u kojima variraju utjecaji folka, popa i jazza.












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Leonard Cohen delighted the crowd at Zagreb's Arena

Nacional.hr - July 26, 2010 (Photo: Zeljko Hladika/PIXSEL)

Legendary Canadian singer-songwriter and poet Leonard Cohen on Sunday night held a concert in Zagreb's Arena. On stage he appeared in its recognizable red suit and hat, and hit that opened the concert in the Croatian capital was "Dance Me To The End Of Love'.

Otherwise, Cohen considered the most influential musician and songwriter of contemporary music. He began to write another 50-ies, and the music began to engage in the 60s, since he released 11 studio albums with songs that vary in influences of folk, pop and jazz.










Zagreb, Croatia

ENGLISH VERSION.

Bliski susret neke druge vrste s istim savršenstvom

Jutarnji.hr - July 26, 2010 by Branimir Pofuk (Photo: Damir Krajac/CROPIX)

Baš kao i rock kriticar Jutarnjeg Aleksandar Dragaš, preksinocnjim koncertom u Areni Zagreb oduševljen je i njegov kolega razmazen koncertima najvecih klasicnih glazbenika

Obeshrabren koncertom u Varazdinu, propustio sam Dylana na Šalati. I ocito teško sagriješio propustom. Iskupljenje sam potrazio s Cohenom. I našao ga. Kolega Dragaš i ja napokon smo na istom mjestu i u istoj veceri dozivjeli bozansku objavu.

U mojoj osobnoj riznici velicanstvenih koncerata Berlinske, Becke ili Minhenske filharmonije, vrhunskih opernih predstava u Scali, Metu, Marijinskom ili Bayreuthu, najboljih izdanja Ive Pogorelica, kao i Bonovih spektakala s U2 od Koševa do Maksimira, u svom tom blagu ushita i savršenstava, Cohen u Zagrebu postao je jednan od najsjajnijih dragulja.

Skladateljski credo u pjesmi

"It goes like this, the fourth, the fifth, the minor fall, the major lift..." glasi krajnje jednostavan skladateljski Cohenov credo, izrecen u stihovima antologijske pjesme 20. stoljeca "Hallelujah". Poput Jakova po ljestvama prema nebu u biblijskom snu, Cohenov glas penje se jednostavnom melodijom u C-duru od kvarte na kvintu, preko pada u a-mol na stepenicu F-dura... svo do prijestolja Boga. I Ljubavi. Pjesma je i najpobozniji psalam i misticki eroticna Cohenova Pjesma nad pjesmama.

Nekoliko mi je ljudi, ne samo zena, nakon koncerta sramezljivo priznavalo kako su upravo na toj pjesmi "pukli" i zatekli se obliveni suzama. Dakle, nisam bio ni rijedak, a kamoli jedini u toj ekstazi.

Tisuce ljudi oko jedne vatre

Vrhunski razglas nije uludo i bucno potratio nijedan jedini ton virtuoznih glazbenika i andeoskih vokala. Cohenova karizma pretvorila je ogromnu dvoranu u toplu brvnaru usred nepregledne ledene i bezdušne pustoši. Oko rasplamsale vatre u kaminu našlo se posebno, udobno i sigurno mjesto za svakog od nas dvanaestak tisuca sretnika. Da bi izrazili posebnost i cudesnost ovakvih pojava i ljudi, cesto kazemo kako nisu s ovoga svijeta. Ali, kad se bolje promisli, ljepota je upravo u zemaljskom podrijetlu i naravi fenomena kao što je Leonard Cohen. Od ovakvih koncerata svijet doista postaje bolji i ljepši jednostavno zato što nas podsjecaju na andeosko i bozansko u nama samima.

U eri najstrašnijih utjelovljenja bešcutnog zla ne treba objašnjavati koliko su nam takva iskustva potrebna i dragocjena.

Citava Arena, kao jedan, ustala je na noge cim je pred nas izašao vlasnik glasa koji nas prati, razgaljuje, rastuzuje i hrabri vec desetljecima. Prostajali smo i citavih posljednjih pola sata trosatnog koncerta. Nije se bolje i ljepše moglo izraziti poštovanje i divljenje - vrlina koju tako divno zastupa sam Cohen.

Stihovi u cast glazbenika

Kako rece jedna velika obozavateljica i poznavateljica njegovog djela, Cohen nosi šešir samo da bi ga skidao. Predstavljajuci ih dvaput tijekom veceri, on je pjesnicki opjevao svakog od virtuoza koji ga prate. Tako je fenomenalnog sviraca puhackih instrumenata Dina Solda potpuno opravdano nazvao "gospodarem daha", a za bubnjara Rafaela Bernarda Gajola rekao je: "to je naš cuvar vremena".

Nitko se tako lijepo ne klanja vlastitim glazbenicima, nitko ne skida šešir s toliko dirljive poniznosti, nitko ne zna tako iskreno kleknuti na pozornici kao što to cini Cohen.

"Nisam došao sve do Zagreba da bih vas prevario" - otpjevao je Cohen, parafrazirajuci stih upravo pjesme "Hallelujah". I doista, nije nas varao nikada, nije ni preksinoc, uzivo. Da smo mogli, u znak poštovanja i zahvalnosti skinuli bismo pred njim s glave citavu Arenu. Dubok, najdublji naklon i veliko hvala, maestro Cohen.








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Close encounter of another kind with the same perfection

Jutarnji.hr - July 26, 2010 by Branimir Pofuk (Photo: Damir Krajac/CROPIX)

Just as the rock critic of the Morning Alexander Dragaš, preksinocnjim concert in the Arena Zagreb is keen and his colleague spoiled the biggest concerts of classical musicians

Discouraged concert in Varazdin, I missed the Dylan Salata. And obviously difficult sin of commission. I sought redemption with Cohen. I found it. Associated Dragaš and I finally have the same place in the same evening, experienced a divine revelation.

In my personal treasures of magnificent concerts of the Berlin, Munich or Vienna Philharmonic, superb opera performances at La Scala, Met, Mariinsky or Bayreuth, the best editions I've Pogorelic and Bonovih spectacles with U2 from Kosevo the Maksimir, in all this mild elation and perfections, Cohen Zagreb became jednan of the brightest gems.

Compositional credo in the song

"It goes like this, the fourth, the fifth, the minor fall, the major lift ..." the voice of Cohen's composing an extremely simple credo, expressed in a verse anthology poems 20th century, "Hallelujah." Like Jacob's ladder to heaven in the biblical dream, Cohen's voice rises to a simple melody in C major from the fourth to Quintus, to fall into a minor step in F-dur ... all to the throne of God. And love. The song is Psalm najpobozniji Cohen and mystical erotic Song of Songs.

Several my people, not just women, after the concert, shy admitted that on this particular track "broke" and found it encrusted with tears. So, I was not rare, let alone only in the ecstasy.

Thousands of people around a fire

Superior sound is loud and foolishly wasted no single tone virtuoso musicians and the angelic vocals. Cohen charisma turned the vast hall in a warm log cabin in the middle of the vast wasteland of ice and heartless. Flared around the fire in the fireplace there were special, comfortable and safe place for every one thousand twelve of us lucky. In order to express uniqueness and wonder of such occurrence and people often say that they are not of this world. But when you consider better, beauty is the very earthly origin and nature of phenomena such as Leonard Cohen. From these concerts the world truly becomes better and more beautiful simply because they remind us of the angels and the divine within ourselves.

In the era of the worst incarnation of evil bešcutnog not need to explain to us how such experience is needed and valuable.

The whole arena, as one, rose to their feet as soon as he got in front of us a voice that accompanies us, razgaljuje, sad and brave for decades. We Prostajali entire last half-hour three-hour concert. Not better and better able to express respect and admiration - a virtue that so beautifully represents I Cohen.

The verses in honor musicians

Said a great connoisseur and admirer of his work, Cohen is wearing a hat just to get it taken off. Presenting them twice during the evening, he is poetically sung each of virtuosos who followed him. That's a phenomenal player of wind instruments Dina Solda fully justified called "master of breath", while drummer Rafael Bernard Gajo said: "This is our time saver."

No one is so nice to not slaughter their own musicians, no one takes off his hat with such touching humility, no one knows so frankly to kneel on the stage as it does Cohen.

"I came to Zagreb in order to fool you" - sung by Cohen, paraphrasing the verse is exactly the song "Hallelujah." Indeed, there has never cheated on us, not two nights ago, live. If we could, as a sign of respect and gratitude to remove him from his head before the whole Arena. Deep, the deepest reverence and a big thank you, maestro Cohen.










Zagreb, Croatia

ENGLISH VERSION.

Kantautorski i budisticki bard predvodio kolektivnu mantru

Vecernji.hr - July 26, 2010 by Arsen Oremovic

S "Dance Me To The End Of Love" Leonard Cohen je zapoceo prvi od dva 70-minutna seta na nezaboravnom koncertu u zagrebackoj Areni. 75-godišnji glazbenik i pjesnik oduševio je zagrebacke fanove.

Nesreca stoji u pozadini jucerašnjeg nastupa Leonarda Cohena u Zagrebu, ali gotovo bismo morali biti sretni, ne i zluradi, zbog toga. Stiješnjen financijskim problemima nakon pronevjere svoje knjigovotkinje, Cohen posljednjih nekoliko godina neprestano odrzava nastupe i turneje, ide gdje god su mu voljni platiti. Da nije toga, teško da bismo ga vidjeli u našem "dvorištu", a to bi, s obzirom na sinoc videno, bila izuzetna šteta.

Igrom ironije, Cohen nikada nije bio popularniji nego sada, kada mu je to najpotrebnije. Kada se prije dvadesetak godina povukao sa scene, da bi nekoliko godina proveo u budistickom hramu, nastupao je u prostorima i više nego upola manjim no danas, kada puni najvece dvorane gradovima po svijetu. Tako je i zagrebacka Arena bila puna, parter je, doduše bio popunjen sjedalima, ali publika je je bez imalo pretjerivanja vratila Cohenu svaku trunku njegove nimalo hinjene ljubaznosti i finoce za trosatnog showa.

Otkako je pjesmom "Dance Me To The End Of Love" zapoceo prvi od dva 70-minutna seta, izmedu koji je bila 15-minutna stanka, koncert je više nalikovao kolektivnoj mantri. A "molitve" su bile slozene po principu best of: "Ain't o Cure For Love", "Bird On The Wire", "Tower Of Song", "Suzanne", "I'm Your Man", dvadeset pjesama u sluzbenom dijelu, plus bisevi, iz svih faza njegove karijere.

Transcendentalni spoj aranzmana, od kojih neki podsjecaju na Splitski festival sedamdesetih, pop glazbe iz nocnih mora Davida Lyncha, španjolskog i grckog melosa, orijenta i još kojecega bili su povezani dubokim "zlatnim" glasom 75-godišnjeg barda, koji je s krajnjom paznjom i poštovanjem (skinuta šešira, pritisnuta rukom uz srce) pa cak i nekarakteristicnim osmjehivanjem pratio solo-dionice izvanrednoga šesteroclanog benda i tri andeoske pratece pjevacice. Dvije vokalistice izvele su akrobatsku tocku, ironicno suocenu s krajnjom jednostavnošcu pozornice i pokreta na sceni, ali sa suptilnim melodijama koje su s nje dolazile.

U više od mjesec dana vidjeli smo u Zagrebu Dylana i Cohena. Aleluja!






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Kantautorski and Buddhist Bard led the collective mantra

Vecernji.hr - July 26, 2010 by Arsen Oremovic

On "Dance Me To The End Of Love" Leonard Cohen began the first of two 70-minute sets in a memorable concert in Zagreb's Arena. 75-year-old musician and poet thrilled Zagreb fans.

Accidents stands behind yesterday's performances by Leonard Cohen in Zagreb, but we almost had to be happy, not malicious, because of this. Squeezed financial problems after his embezzlement knjigovotkinje, Cohen last few years continues to maintain appearances and touring, going wherever he willing to pay. If not that, it's hard for us to see in our "backyard", and that would, as seen on last night, was an exceptional loss.

Play of irony, Cohen has never been more popular than now, when it is needed most. When twenty years ago he withdrew from the scene, to several years in a Buddhist temple, he has performed in venues and more than half the size but today, when the city filled the largest hall in the world. Thus the Zagreb Arena was full, the orchestra was, though he filled the seats, but the audience is, without any exaggeration, Cohen returned any hint of his no hinjene kindness and delicacy of the three-hour show.

Since the song "Dance Me To The End Of Love" began the first of two 70-minute sets, among which was a 15-minute intermission, the concert was more of a collective chants. A "prayer" were complicated by the principle of best: "Ain't No Cure for Love," "Bird On The Wire," "Tower of Song," "Suzanne," "I'm Your Man", the twenty songs in official part, plus encores, from all phases of his career.

Transcendental connection arrangements, some of which are reminiscent of Split Festival seventies pop music from the nightmares of David Lynch, Spanish and Greek melos, the Orient and even stuff were associated with deep "golden" voice of 75-year-old bard, who was with the utmost care and respect (removed his hat, pressed his hand to the heart) and even unspecified osmjehivanjem accompanied solo equities emergency šesteroclanog band and three background singers angelic. The two vocalists have carried out an acrobatic point, ironically, faced with the extreme simplicity of the stage and movements on stage, but with subtle melodies that come with it.

In more than one month we have seen in Zagreb Dylan and Cohen. Hallelujah!










Zagreb, Croatia

ENGLISH VERSION.

Hallelujah!

T-Portal.hr - July 26, 2010 by Vedran Brkulj (Photo: Matej Grgic)

Cohen je u tri sata svirke (uz petnaestominutnu pauzu) oduševio deset tisuca ljudi u Areni Zagreb. Dobro raspolozen i s uigranim deseteroclanim bandom, 'prošetavši' kroz best of karijere podsjetio je zašto je, uz Boba Dylana, najznacajniji kantautor našeg vremena

Da nije bilo Kelley Lynch, teško da bi Zagreb ikada vidio Leonarda Cohena. I koliko god spominjanje imena njegove bivše ljubavnice i menadzerice kod Cohena izazivalo mucninu, svima onima koji su ga sinoc imali prilike vidjeti u zagrebackoj Areni mogu joj samo reci - hvala. Da mu ona prije koju godinu nije maznula pet milijuna dolara namijenjenih za zivot pod stare dane, vremešnog Kanadanina (75) koji se vec bio umirovio teško da bismo ikad imali priliku vidjeti.

I dok neki bendovi i pjevaci na turneje ne krecu motovirani iskljucivo financijskim razlozima, vec se stjece dojam da bi, poput Rolling Stonesa, svirali tek za putne troškove, toplo jelo i bocu Jack Danielsa, upravo oni natjerali su Cohena da nakon petnaest godina krene na maratonsku turneju u kojoj je zagrebacki koncert bio 193. po redu. S nekoliko prekida izazvanih zelucanim problemima i ozljedom leda, najpoznatiji montrealski bariton na turneji je zapravo od svibnja 2008. godine.

U Zagreb, koji mu je prva postaja nakon sedmomjesecnog prisilnog odmora, stigao je pet dana ranije da se što kvalitetnije pripremi za nastavak serije koncerata, koja bi se trebala okoncati potkraj godine.

Unatoc godinama, Cohen na pozornici ne ostavlja dojam starca kojem su dani odbrojani, vec je na momente vrlo zivahan, koliko je to u njegovoj dobi moguce, a britki smisao za humor uz neodoljivi šarm, kojem nisu mogle odoljeti mnoge, cini njegove koncerte posebnijima od drugih.

Usto, od Cohena, cini mi se, dulje svira jedino Balaševic. Tri sata svirke, u kojima je presjek karijere duge cetrdeset godina, sa sjajno uigranim bandom uistinu vrijede svake kune ulozene u ulaznicu.

Odjeven u odijelo sa šeširom na glavi, baš kao i ostatak banda, vremešni Kanadanin podsjecao je na kakva mafijaškog kuma iz dvadesetih godina prošlog stoljeca, a kada je otvorio koncert s Dance Me to the End of Love, koja je imala prizvuk talijanskog juga, na pozornici je samo nedostajala mlada pa da mozemo reci da smo prisustvovali vjencanju kceri mafijaškog bossa.

S godinama je njegov bariton postao dubok i tezak ili, kako su to neke obozavateljice primijetile po forumima - muzevniji, a stih iz Tower of Song - 'I was born with the gift of a golden voice', istinitiji je no ikad.

Zbog toga mozda trpe neke starije pjesme poput Suzanne, kad Cohen na pozornici ostane sam s gitarom u ruci, ali iako je koncert ponudio 'best of', ipak je vecina materijala bila nakon vremena kad je otkrio sintisajzer u osamdesetima.

Iako je pozornica bila primjerenija kakvu vecem klubu nego Areni, i s diskretnom rasvjetom nalik onoj kakvu smo imali prilike vidjeti na koncertu Diane Krall, sve je, ukljucujuci i kristalo cist zvuk zapravo savršeno funkcioniralo, pa su i oni iz najudaljenijih redova mogli nesmetano uzivati u opusu kanadskog velemajstora.

Iz prvog dijela koncerta definitivno treba izdvojiti prearanziranu Bird on a Wire, In My Secret Life, Everybody Knows i Who By Fire. Nakon petnaestominutne stanke, Cohen se vratio na pozornicu uz duhovitu primjedbu 'Hvala što niste otišli kuci u pauzi'.

Odsviravši Tower of Song i solo na klavijaturama, Cohen je prešao na Suzanne i Sisters of Mercy, da bi potom mikrofon prepustio Sharon Robinson, koja je izvela Boogie Street. Vrhunac veceri bila je izvedba I'm Your Man, koja je podigla dvoranu na noge, da bi za regularni kraj koncerta bila ostavljena Take These Waltz.

Na dva bisa imali smo zborno pjevanje uz So Long, Marianne i Closing Time. I taman kad se pomislilo da ce se svjetla upaliti, Cohen se vratio s prigodnom I Tried To Leave You, kojom je zakljucio jednu briljantnu vecer u zagrebackoj Areni.

Hallelujah - bio je to koncert o kojem ce se dugo pricati.




























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Hallelujah!

T-Portal.hr - July 26, 2010 by Vedran Brkulj (Photo: Matej Grgic)

Cohen is a three-hour gig (with a break petnaestominutnu) thrilled ten thousand at the Arena Zagreb. Good mood is coordinated gang of ten, 'prošetavši through a career best of reminded why, along with Bob Dylan, the most important songwriter of our time

Were it not for Kelley Lynch, hard to Zagreb ever seen Leonard Cohen. And as much as mentioning the names of his former lover and manager at Cohen caused nausea and all those who have had a chance to see last night in Zagreb Arena can only say it - thanks. To him it was a few years ago maznula five million U.S. dollars earmarked for old age, vremešnog Canadian (75) who had already retired would hardly ever have seen.

And while some bands and singers on the tour, do not move lose interest purely financial reasons, but one gets the impression that, like the Rolling Stones, played only for travel expenses, a warm meal and a bottle of Jack Daniels, the ones forced to Cohen after fifteen years to go marathon tour in which the Zagreb concert was the 193rd per line. With few interruptions caused by stomach problems and back injury, the most famous baritone Montreal on tour is actually from May 2008. year.

In Zagreb, who was the first station after sedmomjesecnog forced vacation, arrived five days earlier that the best possible preparation for the continuation of a series of concerts, which should be terminated at the end of the year.

Despite the years, Cohen on stage does not leave the impression that the old days numbered, but at times very lively, as far as possible at his age, a sharp sense of humor with irresistible charm, which could not withstand many seem distinctive of his concerts others.

In addition, from Cohen, I think, longer playing only Balaševic. The three-hour gig, which is the intersection of a long career forty years, with coordinated band really great, every rate embedded in the ticket.

Dressed in a suit with a hat on his head, just like the rest of the gang, aged Canadian, reflected the kind of mafia godfather of the twenties of the last century, and when he opened the concert with Dance Me to the End of Love, which had a tinge of the Italian south, the stage is only young and lacked safe to say that we attended the wedding of the daughter of a mob boss.

Over the years his baritone became deep and heavy, or what are some fans noticed the forum - muzevniji, a verse from the Tower of Song - "I was born with the gift of a golden voice, 'truthful than ever.

Therefore, you may suffer some older songs such as Suzanne, when Cohen was left alone on stage with guitar in hand, and although the concert offered a 'best of', but most of the material was the time when he discovered synthesizers in the eighties.

Although the stage was adequate for most any club, but Arena is a discrete illumination like that what we saw at the concert Diana Krall, everything, including the crystal clear sound actually worked perfectly, so that those furthest from the ranks can enjoy the output Canadian master of.

From the first part of the show should definitely mention prearanziranu Bird on a Wire, In My Secret Life, Everybody Knows and Who By Fire. Petnaestominutne After intermission, Cohen returned to the stage with a witty remark 'Thanks, you have not gone home during the break.

Odsviravši Tower of Song and solo keyboard, Cohen has gone on Suzanne and Sisters of Mercy, only to relinquish the microphone, Sharon Robinson, who performed the Boogie Street. The highlight of the evening was a performance I'm Your Man, which raised the hall to his feet, to the regular end of the concert was left Take These Waltz.

The two encores, we had a choir singing along with So Long, Marianne and Closing Time. And just when you thought that the lights turn on, Cohen returned from the occasional I Tried To Leave You, which has concluded a brilliant evening in Zagreb Arena.

Hallelujah - it was a concert which will longbe talked about.










Zagreb, Croatia

ENGLISH VERSION.

Veliki koncert gospodara samoce

RTL.hr - July 26, 2010

Tijekom više od tri sata Cohen je nizao klasik za klasikom, a dojam je malo pokvario tek niz bezveznih pjesama na posljednjem bisu.

Da sjeta ponekad moze biti prekrasna u nedjelju nam je u fino ispunjenoj Areni otkrio veliki Leonard Cohen.

Iako je prostor odrzavanja koncerta mogao biti bolje odabran - kokice u rukama posjetitelja ostavljale su dojam da sjedite u nekom multiplex kinu - prvi i vjerojatno posljednji hrvatski nastup jednog od najvecih pjesnika u povijesti pop glazbe još dugo ce razgaljivati srca svih koji su mu prisustvovali.

Pracen iznimnim bendom kojeg predvodi španjolski virtuoz, gitarist Javier Mas, Cohen je tijekom više od tri sata nizao klasik za klasikom ("Dance Me To The End Of Love", "The Partisan", "So Long Marianne" i te veceri daleko najimpresivnija "Hallelujah"), izvodeci stihove posvecene gubitku i samoci dubokim glasom koji zvuci kao da je ispao sa samih usana tuge.

Finu protutezu cinio mu je trio zenskih vokala, koji se povremeno bavio i akrobacijama, a jedinu zamjerku valja uputiti trajanju koncerta.

Naime, ocito pozvan na koji bis previše, Cohen se oprostio nizom zaista bezveznih pjesama ("Closing Time, primjerice"), ali unatoc tome, od sveg srca zahvaljujemo njegovoj bivšoj menadzerici što ga je opljackala i, samim time, ponovno otjerala na pozornicu.






Translated by Google Translate

Great concert master of Solitude

RTL.hr - July 26, 2010

Over more than three hours, Cohen classic series of classic and feel a little spoiled just a series of poems in the last bezveznih bisu.

That melancholy can sometimes be a beautiful Sunday we filled in the fine Arena discovered a great Leonard Cohen.

Although the concert space could be better selected - popcorn in the hands of visitors leaving the impression that you sit in a multiplex cinema - the first and probably last Croatian performance of one of the greatest poets in the history of pop music has long razgaljivati hearts of all who attended to him.

Accompanied by an exceptional band led by Spanish virtuoso guitarist Javier Mas, Cohen during more than three hours of classic series for classic ("Dance Me To The End Of Love," "The Partisan," "So Long Marianne" and that evening by far the most impressive " Hallelujah "), performing poems dedicated to the loss of solitude and a deep voice that sounds like it was dropped from the very lips of sadness.

He did a fine counterbalance to a female vocal trio, which they are engaged and acrobatics, and the only complaint should refer the duration of the concert.

Namely, it is obvious that called bis too, Cohen is actually a series of farewell bezveznih songs ("Closing Time, for example), but despite that, of all thank his former manager as he was looted, and, consequently, drove back to the stage.










Zagreb, Croatia

ENGLISH VERSION.

Velicanstvena vecer uz velikog Leonarda Cohena

Soundguardian - July 26, 2010 by Mirna Maric (Photo: Paulo Buncuga)

Veliki kantautor Leonard Cohen jucer je po prvi put nastupio u Hrvatskoj, istodobno zapocevši svoju jesensku europsku turneju. Zagrebacka Arena je bila pristojno popunjena, pogotovo za kraj srpnja kad je Zagreb tradicionalno vec ''evakuiran'', a tome je vjerojatno doprinio i priljev publike iz okolnih zemalja jer busevi su stizali iz Italije, Slovenije i Madarske, a neki od nas koji inace izbjegavaju Zagreb po ljeti vratili su se u Hrvatsku samo radi koncerta - i vrijedilo je.

Oni koji su bili na nekom od koncerata Cohenove povratnicke turneje 2008 ili 2009, ili koji su barem poslušali album Live in London, znali su što mogu ocekivati - Cohenovi koncerti su perfekcionisticki uvjezani i redovito na visokoj umjetnickoj razini, bez nekih iznenadenja i variranja u kvaliteti. Kad se govori o Cohenu nekako se uvijek namecu usporedbe s drugim velikim kantautorom koji je obiljezio 20. stoljece, Dylanom: dok je odlazak na Dylanov koncert neka vrsta lutrije (mada gubitak nikad nije prevelik), Cohenovi nastupi su ''sigurni dobitak''.

Tehnicka izvedba je savršena, setlista je gotovo ista na svim koncertima, s malom mogucnošcu varijacije (tek nekoliko pjesama), a trajanje koncerta redovito velikodušna 3 sata. Kao i uobicajeno, zagrebacki nastup je otvorila popularna Dance Me To The End of Love, koja je publiku nagnala na ritmicko pljeskanje, a uslijedile su Future (intrigantno aktualnog teksta) i Ain't Cure for Love. Cohen se potom vratio u rane dane i izveo Bird on the Wire sa svog drugog albuma Songs from a Room, no nastavak je opet bio u znaku recentnijih kompozcija (s izuzetkom Who By Fire iz 1970ih): In My Secret Life, Heart with No Companion u country stilu, Waiting for the Miracle, i Anthem - tijekom koje je ponosno predstavio bend, a posebno svoju suradnicu u komponiranju, Sharon Robinson, inace izuzetnu vokalisticu koja u Cohenovom bendu predvodi trio back vokala.

Uslijedila je kratka pauza, a drugi dio koncerta poceo je s jednom od Cohenovih najosobnijih kompozicija u kojoj Cohen promišlja svoje mjesto u kanonu popularne glazbe, vrckavu Tower of Song, prepunu fine samoironije (I was born with the gift of a golden voice) i zafrkatskih dijelova kao što je simplisticki solo na sintesajzeru, popracen euforicnim pljeskom publike, na što se Cohen širokog osmjeha zahvalio publici (you're very kind). Sljedeca pjesma je bila Suzanne, Cohenov prvi ''proboj'' na top liste, i to izvedbi Judy Collins, a na ovom je koncertu upravo Suzanne imala najogoljeniji aranzman, najslicniji asketskoj instrumentaciji koja je obiljezila Cohenove rane albume. U drugom dijelu koncerta Cohen se cešce vracao na rane kompozicije, pa smo culi još Sisters of Mercy, The Gypsy's Wife (sa zanemarenog albuma Recent Songs), The Partisan (inace obrada francuske ''partizanske'' pjesme). Sharon Robinson je dala nadahnutu interpretaciju Boogie Street, pomalo u gospel štihu primjerenom njenom raskošnom vokalu, a potom je Cohen izveo svoju kljucnu kompoziciju, vjecno intrigantnu Hallelujah, duhovitu I'm Your Man, te za kraj Take This Waltz, posvecenu Cohenovom velikom uzoru Garciji Lorci. Na bis se nije dugo cekalo, te se bend vratio na još 5 pjesama: So Long Marianne, uz koju je publika i zapjevala, mracnu First We Take Manhattan iz Cohenove cinicno-politicke faze, melankolicnu Famous Blue Raincoat, te If It Be Your Will - inspiriranu zidovskom molitvom iz Kol Nidrej obreda za Jom Kipur, a koju je ovom prigodom Cohen samo izrecitirao, a sestre Webb su dale prekrasnu vokalnu izvedbu, popracenu njeznim zvukom harpi, stvarajaci uvjerljivu atmosferu religijskog obreda. Za kraj je uslijedila, primjereno, Closing Time, nakon koje se Cohen vratio na još jedan bis - s I Tried To Leave You, inace svojevrsnim ljubavnim bluesom s albuma New Skin for The Old Ceremony, no ciji su stihovi u ovoj prigodi dobili dodatni zafrkantski sloj znacenja koji se tice Cohenovog odnosa s publikom - koju je ''pokušao ostaviti'', i za ''ciji osmjeh još uvijek radi''.

Ne moze se dovoljno nahvaliti Cohenov prateci bend, a posebno izvrsni katalonski gitarist Javier Mas, cije su instrumentalni uvodi u kompozicije i nadahnuti solazi davali jedan poseban mediteranski štih aranzmanima, i notu folka kojem je Cohen bio blizi u ranim danima, prije nego li je otkrio zvuk 80ih. Cohenov vokal nikad nije bio njegov najjaci adut, a u ovim godinama je razumljivo još slabiji, no upravo vrhunski bend, elaborirani aranzmani te rafinirano napisane ''andeoske'' vokalize sestara Webb uvelike nadopunjuju Cohenov vokal koji se spustio u duboku basovsku dionicu - no još uvijek emanirajuci neodoljivim šarmom. Treba spomenuti i puhaca Dina Solda, gitarista i starog Cohenovog suradnika Boba Metzgera, bubnjara Rafaela Gayola i ostale clanove benda koji su svi briljirali u nadahnutoj meduigri bogatog zvucnog tkanja i povremenim solazima.

Jedino za cime treba zaliti je što ipak nismo culi Hey That's No Way To Say Goodbye, nekima od nas vrlo dragu pjesmu - koja spada u varijabilni dio setliste, te se rijede pojavi na repertoaru. Inace prigovorima nema mjesta, jer se radi o vrhunskom nastupu na razini Cohenovog visoko postavljenog standarda. Nakon 3 sata svirke, publika doista nije imala izbora nego da bude ''zadovoljna'' (I hope you're satisfied), i da izade iz Arene s ''osmjehom'' za koji se bard toliko trudio (and here's a man still working for your smile).

  

  







Translated by Google Translate

Magnificent evening with great Leonard Cohen

Soundguardian - July 26, 2010 by Mirna Maric (Photo: Paulo Buncuga)

Great singer-songwriter Leonard Cohen yesterday for the first time appeared in Croatia, while starting its fall European tour. Zagreb Arena was filled with decent, especially for the end of July when the Zagreb traditionally been evacuated and this is probably contributed to the inflow of the audience from the surrounding countries, because buses were arriving from Italy, Slovenia and Hungary, and some of us who otherwise avoid Zagreb in the summer have returned to Croatia just for show - and it was worth it.

Those who were on a concert tour of the returnee Cohen 2008 or 2009, or at least listen to the album Live in London, they knew what to expect - Cohen concerts are perfectionist uvjezani regularly at a high artistic level, without some surprise and variation in quality . When talking about Cohen somehow always impose comparisons with other great singer / songwriter who has marked the 20th century, Dylan: while going to the concert Dylanov kind of lottery (although a loss is never too much), Cohen shows were 'sure win'.

Technical performance is perfect setlist was almost the same at all concerts, with little possibility of variation (a few songs), and the duration of the show regularly generous 3 hours. As usual, the Zagreb concert was opened by popular Dance Me To The End of Love, which prompted the audience to the rhythmic clapping, followed by Future (intriguing actual text) and Is not Cure for Love. Cohen then returned in the early days and took Bird on the Wire with his second album Songs from a Room, but the sequel was again marked by recentnijih kompozcija (with the exception of Who By Fire from the 1970s): In My Secret Life, Heart With No Companion in a country style, Waiting for the Miracle, and Anthem - during which he proudly presented the band, and especially in composing his associates, Sharon Robinson, or that the outstanding vocalist Cohen's band led the trio back vocals.

Followed by a brief pause, the second part of the concert began with one of Cohenovih najosobnijih compositions in which Cohen thinks his place in the canon of popular music, vrckavu Tower of Song, full of fine samoironije (I was born with the gift of a golden voice) and zafrkatskih components such as simplisticki synthesizer solo, accompanied by euphoric applause of the audience, on which Cohen thanked the audience a wide smile (you're very kind). The next song was Suzanne, Cohen's first 'breakthrough' on the charts, and performances Judy Collins, and this concert just Suzanne had the most naked arrangement, very similar ascetic instrumentation that marked the early albums Cohen. In the second part of the concert, Cohen is frequently returned to the early compositions, and we heard more Sisters of Mercy, The Gypsy's Wife (with neglected album Recent Songs), The Partisan (or French dressing 'partisan' song). Sharon Robinson gave an inspired interpretation of Boogie Street, a bit of gospel verse suited her lush vocals, and then Cohen took his key compositions, eternally intriguing Hallelujah, funny I'm Your Man, and the end of Take This Waltz, dedicated to Cohen's a great role model Garcia Lorca. The encore was not long coming, and the band returned for another 5 songs: So Long Marianne, by which the audience sang the dark First We Take Manhattan from Cohen cynical and political stage, the melancholic Famous Blue Raincoat, and If It Be Your Will - inspired by a Jewish prayer from Aug Nidrej rites for Yom Kippur, and that on this occasion only izrecitirao Cohen, a sister Webb gave a beautiful vocal performance, accompanied by the gentle sound of harp, stvarajaci convincing atmosphere of religious rites. For the end is followed, appropriately, Closing Time, after which Cohen returned for another encore - with I Tried To Leave You, or a kind of romantic blues on the album New Skin for the Old Ceremony, but whose lyrics are in this occasion, get an extra zafrkantski layers of meaning concerning Cohenovog relationship with the audience - he tried to 'leave' and whose 'smile' is still running.

Can not get enough nahvaliti Cohen's backing band, especially the excellent Catalan guitarist Javier Mas, which were introduced in the instrumental compositions and inspired solos gave a distinct Mediterranean touch to the arrangements, and folk note that Cohen has been closer in the early days, before it was discovered the sound of 80s. Cohen's vocals never been his strongest asset, and this year it is understandable even weaker, but that top band, elaborate arrangements and refined written 'Angel' vokalize Webb sisters greatly complement Cohen's vocals, which has descended into a deep bass section - but still emanirajuci irresistible charm. It should be mentioned and winds Dina Solda, guitarist and old associates Cohenovog Bob Metzger, drummer Rafael Gayoom and other members of the band's success, which are all inspired by the rich interplay of sound weaving and occasional solos.

The only thing for which to complain about is that though we have not heard Hey That's No Way To Say Goodbye, some of our very favorite songs - which belongs to the variable part of the setlist, and rarely appears in the repertoire. Otherwise no complaints places, because it is an excellent performance at high Cohenovog set standards. After 3 hours of playing, the audience really had no choice but to be 'happy' (you're satisfied I hope) and that leaves the arena with a smile or which the bard so much effort (and here's a man still working for your smile).










Zagreb, Croatia

ENGLISH VERSION.

Zagreb se naklonio velikom pjesniku

Dnevnik.hr - July 26, 2010 by Marko Podrug

Desetak tisuca ljudi dozivjelo je nezaboravno trosatno iskustvo s kanadskim kantautorom Leonardom Cohenom.

Covjek burne biografije, majstor stiha, vlasnik najprepoznatljivijeg bas-baritona na svijetu, veliki šaljivdzija i cinik, sinoc je prvi put nastupio u Hrvatskoj. Pred gotovo ispunjenom Arenom, Leonard Cohen i njegov vrstan prateci sastav svirali su, uz kracu pauzu, gotovo tri i pol sata zagrebackoj publici, šarolikoj i rekli bismo poprilicno 'šminkerskoj', koja je konacno dozivjela velikog majstora na djelu.

Uz rizik da ce se Mišo Kovac ozbiljno naljutiti na nas, konstatirat cemo da je Arena prvi put od otvaranja ugostila jednu istinsku legendu, glazbenika i pjesnika koji je sinoc bez puno mudrolije izveo dostojanstven, smiren i na trenutke euforican koncert. Iako je tijekom ove turneje, na koju je krenuo jer je bankrotirao, padao u nesvijest i ozlijedivao leda, Cohen se na pozornici Arene doimao poput 76-godišnjeg gospodina u dobroj formi, koji je trckarao po bini, plesao, klecao i svako malo skidanjem šešira davao komplimente svojim pratecim glazbenicima i pjevacicama.

Cohen nam nije ostao duzan nijednu veliku skladbu, s kojima je podjednako utjecao na svjetsku folk, pop, pa i rock scenu, na kojima je još uvijek bitan faktor. Pocelo je s 'Dance Me to the End of Love', prvu veliku eurforiju izazvao je s 'Bird on the Wire' i 'Everybody Knows', a s 'Who By Fire' i 'Suzanne' i zadnji posjetitelj postao je svjestan pred kojom velicinom sjedi.

Zbijeni u desetak kvadrata na prostranom stageu, Cohenov orkestar je s minimalnim i savršeno doziranim aranzmanima ucinilo Arenu intimnim prostorom u kojemu je carovao duboki Cohenov vokal i boje na pozadinskom zastoru. No, i u takvoj komornoj atmosferi teško se moglo mirno sjediti - dugogodišnji hitovi dizali su tribine na noge, a ni sjedeci parter nije ostao imun na podrazaje s pozornice. Pogotovo kad je Cohen izvukao adut iz rukava i otpjevao 'The Partisan', pjesmu koja na aktualnoj turneji nije uobicajena, a jedna je od mocnijih iz njegova repertoara.

>> Predstavljena biografija Leonarda Cohena

Završetak Cohenove zagrebacke price prošao je u zbornom pjevanju 'I'm Your Man', 'First We Take Manhattan', 'Hallelujah', 'So Long, Marianne' i Sisters of Mercy'. No, stari se lisac nije tako lako dao otjerati iz dvorane, vracao se tri, cetiri puta i podario obozavateljima još i 'If It Be Your Will', 'Closing Time' i 'I Tried to Leave You'. Time je završeno jedno dugo druzenje s Leonardom Cohenom u ljetnoj noci. Veliki naklon majstore i, ako je ovaj koncert bio tvoj financijski spas, bankrotiraj ti nama još koji put.


















Translated by Google Translate

Zagreb bowed to the great poet

Dnevnik.hr - July 26, 2010 by Marko Podrug

About ten thousand people experienced an unforgettable three-hour experience with Canadian singer-songwriter Leonard Cohen.

Man tumultuous biography, a master of verse, a najprepoznatljivijeg bass-baritone in the world, a rogue and a cynic, last night was first performed in Croatia. In front of almost filled with Arena, Leonard Cohen and his excellent backing band played with a short break, almost three and a half hours to the Zagreb audience, diverse, and we would rather 'šminkerskoj', who finally experienced a great master at work.

In addition to the risk that the Miso Kovac seriously angry with us, we conclude that the Arena for the first time since the opening hosted a true legend, musician and poet who was last night without much mudrolije brought a dignified, calm and at times euphoric concert. Although during this tour, you went because it was bankrupt, he fell unconscious and hurt his back, Cohen is on the stage of the Arena seemed like a 76-year-old gentleman was in good shape, which is a busybody on stage, dancing, kneeling, and every now and then removing his hat giving compliments to his backup musicians and singers.

Cohen did not remain bound to us any great song, which is equally influenced by the world's folk, pop, and rock scene, which is still an important factor. It began with "Dance Me to the End of Love ', the first major eurforiju sparked the' Bird on the Wire 'and' Everybody Knows', and 'Who By Fire' and 'Suzanne' and the last visitor has become aware that the size sitting.

Compressed into ten squares on a large stage, orchestra Cohen is minimal and perfectly made arrangements dosage Arena intimate space in which carovao Cohen's deep vocals and background colors of the curtain. However, in such a chamber atmosphere could hardly sit still - for many years hits the stands rose to their feet, and even sitting parter remained immune to the stimuli from the stage. Especially when Cohen drew trumps from the sleeve and sang 'The Partisan', a song that the current tour is not common, and one of the more powerful from his repertoire.

>> Presented by Leonard Cohen Biography

End of story Zagreb Cohen went on choir singing 'I'm Your Man', 'First We Take Manhattan', 'Hallelujah', 'So Long, Marianne "and the Sisters of Mercy. But the old fox is not so easy to give him from the hall, he returned three or four times and gave fans another and 'If It Be Your Will', 'Closing Time' and 'I Tried to Leave You ". This was completed a long friendship with Leonard Cohen in the summer night. Great masters of the bow, and if this concert was your financial saving, you bankrotiraj us a few more times.










Zagreb, Croatia

ENGLISH VERSION.

Leonard Cohen odrzao koncert u Zagrebu

She.hr - July 26, 2010 by Saša Drinic (Photo: Jasenko Drinic)

Pojava uz koju morate lebdjeti.

Cuti i dozivjeti Leonarda Cohena uzivo i umrijeti... Moze, osjecaj je ionako besmrtan. S ovim bi se vjerojatno slozilo svih preko 11 tisuca posjetitelja u zagrebackoj Areni koji su došli uzivati u koncertu sjajnog Kanadanina.

Za ovu prigodu, kako je i najavljeno, Arena Zagreb pretvorena je u intimno kazalište, a kroz taj su se prostor savršeno razlijevali stihovi Cohenovih balada interpretirani prepoznatljivim glasom od kojeg vam prolaze srsi. Kanadaninovi obozavatelji upijali su energiju koja je ispunjala prostor do, imali smo osjecaj, posljednjeg milimetra. Mirnoca, spokoj i lebdeci osjecaj ugode mogli su se fizicki osjetiti.

U nezaboravnu vecer uplesali smo s legendarnom "Dance Me To The End of Love" koja je odmah dala naslutiti da ce ovaj trosatni koncert biti nešto posebno. Karizmaticni, vremešni, ali i savršeno vitalni umjetnik ponudio je presjek svojih 11 studijskih albuma, uz pratnju sjajno uigranog benda. Bile su to izvedbe kao s cd-a koji slušamo doma uz nezaobilaznu cašu crnog vina, na koju Cohen poziva svakim stihom.

Umjetnik je svaku pjesmu popratio sugestivnom mimikom, preko nekoliko puta cucnuvši i uistavši se, a najemotivnija izvedba bila je legendarna Halleluyah.koju je izveo klececi. S prepoznatljivim stylingom, odijelom i šeširom u kojima, kako je napisao jedan kolega, izgleda poput najomiljenijeg bozjeg mafijaša, izvodeci hit "I'm Your Man" oduševio je publiku.

Pjesmu "Boogie Street" savršeno je otpjevala Cohenova koncertna pratiteljica Sharon Robinson.

"Bili ste sjajni veceras, bilo je jako ugodno. Hvala Vam!", rekao je na kraju Cohen publici koja ga je ispratila freneticnim pljeskom oduševljenja.

Da je zaista bilo tako govori i cinjenica da je tri puta izlazio na bis kada je izveo "So Long Marianne", posvecenu jednoj od njegovih muza, Norvezanki Marianne, "First We Take Manhattan" atmosferu je dovela do usijanja , a predivna zagrebacka srpanjska noc okoncana je stihovima "Good night my darling, I hope you're satisfied"...

Zar bismo mogli i smjeli traziti više?














Translated by Google Translate

Leonard Cohen held a concert in Zagreb

She.hr - July 26, 2010 by Saša Drinic (Photo: Jasenko Drinic)

The occurrence to which you must soar.

To hear and experience the Leonard Cohen live and die ... Yes, the feeling is already immortal. With these would probably all agreed over 11 thousand visitors in the Zagreb Arena, who came to enjoy the concert of great Canadian. On this occasion, as previously announced, Zagreb Arena was transformed into an intimate theater, and through this the perfect space razlijevali Cohenovih ballad verses interpreted recognizable voice of which you pass srsi. Canadian fans absorbing the energy that filled the space up, we had the feeling, the last millimeter. Calmness, serenity and floating feeling of comfort they could be physically felt.

In an unforgettable evening with legendary uplesali we "Dance Me To The End of Love" which immediately made sense that this three-hour concert will be something special. Charismatic, the aged, and perfectly vital artist offered a cross-section of its 11 studio albums, accompanied by a great band uigranog. They were to design a CD to listen to home, with the inevitable glass of red wine, on which Cohen calls every verse.

The artist has accompanied every song suggestive mime through several times and cucnuvši uistavši is a most emotional performance was legendary Halleluyah.koju performed kneeling. With distinctive styling, suit and hat in which, as written by a colleague, it seems like God's favorite mobster, performing the hit "I'm Your Man" delighted the audience. The song "Boogie Street" is the perfect companion concert sang Cohen Sharon Robinson.

"You were great tonight, it was very pleasant. Thank you!" Said Cohen at the end of the audience that he was greeted with applause frantic enthusiasm.

Had he really been so by the fact that three times out for encore when he performed "So Long Marianne", dedicated one of his muse, Norway's Marianne, "First We Take Manhattan" the atmosphere has led to a fever pitch, a beautiful night in July Zagreb ended with the verses of "Good night my darling, I hope you're satisfied ...

Can we and should ask for more?










Zagreb, Croatia

ENGLISH VERSION.

Ne, hvala Vama: Leonard Cohen tri sata drzao Arenu u ekstazi

Dalje - July 26, 2010 by Daniela Vujica (Photo: Pixsell)

- Hvala vam puno - odgovorio je Leonard Cohen na oduševljeni pljesak kojim ga je docekala puna zagrebacka Arena. Na pozornicu je izašao u svom karakteristicnom crnom odijelu i šeširu, a dugoocekivani koncert otvorio je hitom 'Dance Me Till the End of Love'. Jednostavna, ali efektna scenografija i masivne baršunaste zavjese Areni su dale kabaretski ugodaj, pišu domaci mediji.

Cohenove godine vide se na njegovom licu, a glas mu je jednako baršunast i mocan i zvuci kao na studijskoj snimci. Vrhunski trosatni koncert upotpunila je odlicna svirka pratecih glazbenika, a pratece pjevacice pokazale su da im nisu samo glasovi mocni vec da su i gipke te su oduševile publiku napravivši 'zvijezde' kao prave gimnasticarke.












Translated by Google Translate

No, thank you: Leonard Cohen held the Arena in three hours of ecstasy

Dalje - July 26, 2010 by Daniela Vujica (Photo: Pixsell)

- Thank you very much - said Leonard Cohen at the enthusiastic applause which greeted him was full of Zagreb Arena. On stage, he came in his typical black suit and hat, a long-awaited concert was opened by the hit "Dance Me Till The End Of Love '. Simple but effective design and massive velvet curtain Arena gave a cabaret atmosphere, according to local media.

Cohen was seen on his face and his voice is as velvety and powerful, and it sounds like the studio recordings. Superior completed a three-hour concert is a great gig supporting musicians and background singers showed their voices are not only powerful but also flexible and have enthralled audiences making a 'star' as a real gymnast.










Zagreb, Croatia

ENGLISH VERSION.

Leonard Cohen u Zagrebu odrzao koncert za pamcenje

Hrsvijet - July 26, 2010 by SD

Ni sve silne najave s obecanim spektaklom baš kao ni sjajni koncertni album i DVD, nisu mogli dovoljno pripremiti publiku za senzaciju koju im je u zagrebacoj Areni priredio Leonard Cohen. Zagreb - koji je postao svojevrsna odskocna daska za netom zapoceti ogranak odgodene europske turneje - Cohena je docekao s neskrivenim oduševljenjem, s razlogom.

Naime, kultni kantautor cije su balade i introspektivne skladbe trajno impregnirale mnoge generacije koncert pred desetak tisuca posjetitelja zapoceo je maestralnim trolistom tema: Dance Me to the End of Love, The Future i Ain't no Cure for Love.

Uz podršku fascinantnog benda predvodenog basistom Roscoem Beckom - najodgovornijim za sugestivne aranzmane i organsku svirku koja je Cohena stavila uz bok aktualnim koncertnim izdanjima Boba Dylana i Vana Morrisona - Cohen je izveo vec dobro znani koncertni set.

Udarna mjesta koncerta, barem što se reakcija publike tice, bila su: Bird on the wire, Everybody Knows, Waiting for a Miracle, Suzanne, Tower of Songs, Hallelujah, The partisan... Izvodeni bisevi nakon dva odsvirana koncertna seta i sjajne zakljucne Take this Waltz bili su impresivni i ne baš kratki.

Bila su to prizivanja izvanvremenih zgoditaka poput So Long Marianne, First we take Manhattan... Nakon Los Lobosa, Boba Dylana i Chucka Propheta bio je to još jedan ovogodišnji zagrebacki koncert za pamcenje.








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Leonard Cohen in Zagreb, held a concert to remember

Hrsvijet - July 26, 2010 by SD

Neither the notice to all those great spectacle promised just like any great live album and DVD, they could not sufficiently prepare the audience for the sensation that they were prepared to zagrebacoj Arena Leonard Cohen. Zagreb - which has become a sort of springboard for the newly open branch delayed their European tour - Cohen was greeted with obvious enthusiasm, with good reason.

Namely, the cult singer-songwriter whose ballads and introspective songs permanently impregnirale many generations before the concert began about ten thousand visitors a masterfully trefoil theme: Dance Me to the End of Love, The Future and Ain't No Cure for Love.

With the support of a fascinating band led by bassist Roscoe Beck - most responsible for suggestive arrangements and organic music that Cohen has placed side by side with the current editions of the concert by Bob Dylan and Van Morrison - Cohen performed a well-known concert set.

Impact of the concert, at least as far as audience reaction, were: Bird on the Wire, Everybody Knows, Waiting for a Miracle, Suzanne, Tower of Songs, Hallelujah The partisan... Performed after two encores played a concert set and a great concluding Take this Waltz were impressive and not very short.

These were the invocation izvanvremenih winnings like So Long Marianne, First We Take Manhattan ... The Los Lobos, Bob Dylan and Chuck Prophet was yet another year's Zagreb concert to remember.










Zagreb, Croatia

ENGLISH VERSION.

Leonard Cohen "vratio" hrvatskoga javnog duga

NoviList - July 26, 2010 by Denis Romac

Najveci glazbenik medu pjesnicima i najveci pjesnik medu glazbenicima u Zagrebu

Izašavši sinoc na pozornicu kao da mu je to prvi nastup u zivotu, Cohen je svaku je pjesmu otpjevao i odsvirao kao jedinstvenu i neponovljivu, dajuci sve od sebe

ZAGREB Iako jedan od najutjecajnijih glazbenika u povijesti popularne glazbe, s cijom je velicinom jedino usporediva aura Boba Dylana, Leonard Cohen se sinoc pred hrvatskom publikom u zagrebackoj Areni, na svom prvom hrvatskom nastupu, predstavio karakteristicnom skromnošcu i intimnošcu.

Upravo na tim vrijednostima inzistirao je taj jedinstveni Kanadanin i sinoc, kao što je to beskompromisno cinio tijekom protekla cetiri i pol desetljeca, koliko traje njegova nevjerojatna glazbena karijera, cime je osigurao jedinstven kultni status kod kriticara, ako vec ne uvijek i komercijalni uspjeh kod publike.

Zagrebacki nastup zapravo je svojevrstan Cohenov dug Zagrebu, buduci da se taj koncert trebao odrzati još 15. ozujka. No onda je 76-godišnjeg kantautora bolest sprijecila da ispuni svoju obavezu. Sada je pak odlucio krenuti na turneju upravo iz Zagreba, koji mu se toliko dopao da je glavni hrvatski grad pocastio svojom nazocnošcu skoro cijeli tjedan, pripremajuci se za nedjeljni koncert i nastupajucu svjetsku turneju, koja pocinje upravo zagrebackim koncertom.

Izašavši sinoc na pozornicu kao da mu je to prvi nastup u zivotu, »najveci glazbenik medu pjesnicima i najveci pjesnik medu glazbenicima« svaku je pjesmu otpjevao i odsvirao kao jedinstvenu i neponovljivu, dajuci sve od sebe, priredivši hrvatskoj publici nezaboravan glazbeno-poetski kolaz.








Translated by Google Translate

Leonard Cohen "returned" the Croatian public debt

NoviList - July 26, 2010 by Denis Romac

The greatest poets and musicians among the greatest poet among musicians in Zagreb

Izašavši last night on stage as it was his first appearance in his life, Cohen had every song sung and played as a single and unique, giving the best

ZAGREB Although one of the most influential musicians in the history of popular music, whose size is only comparable to the aura of Bob Dylan, Leonard Cohen last night before an audience in the Croatian Zagreb Arena, in his first appearance Croatian, presented the characteristic modesty and intimacy.

It is on these parameters insisted that unique Canadian and last night, as it did compromise over the past four and a half decades, how long is his amazing musical career, which has provided a unique cult status with the critics, if not always box office success with the audience.

Zagreb concert is actually a sort of Cohen's long Zagreb, since this is a concert scheduled to take place even 15th March But then the 76-year-old singer prevent disease to fulfill its obligation. Now, on the other hand decided to go on tour starting from Zagreb, which he liked so much that the Croatian capital honored by your presence almost the whole week, preparing for Sunday's concert and the upcoming world tour, which begins precisely Zagreb concert.

Izašavši last night on stage as it was his first appearance in my life, "the greatest musician of the poets and the greatest poet among musicians," each song is sung and played as a single and unique, giving all of himself, staged Croatian audience an unforgettable musical and poetic collage.










Zagreb, Croatia

ENGLISH VERSION.

LEONARD COHEN U ZAGREBU: Starac još nije pronašao lijek za ljubav

Zurnal - July 27, 2010 by Semir Mujkic

Leonard Cohen nije nastupao duze od 15 godina a onda smo ga morali cekati još cetiri mjeseca da zalijeci leda i pojavi se u Zagrebu. Ne mozemo prezaliti što nije otpjevao i Chelsea Hotel NO.2 ali ni zamjeriti mu zbog toga jer 25 otpjevanih pjesama probrano po ukusu publike. Ne vjerujemo da je neko od 10.000 ljudi u zagrebackoj Areni mogao pronaci neku vecu zamjerku Cohenu i njegovom bendu. Pjesme su prekidane aplauzom i ustajanjem više puta nego govori americkog predsjednika u Kongresu. Nije to bilo ono obavezno kurtoazno pljeskanje nakon pjesme. Cohen se zaista umije povezati sa svojom publikom poput ucitelja zena sa kojima je proveo pola svog zivota. Kazu da je Kanadanin na turneju nakon decenije i po pauze krenuo jer ga je menadzerica opljackala i to je spomenuto u skoro svakom tekstu hrvatskih medija danima prije koncerta. Cohen po obicaju nije davao nikakve izjave niti intervjue ali je Jutarnji list uspio saznati i "ekskluzivno" prenijeti da pjesnik ima skromne zahtjeve: mir, tišinu i mercedesa E klase.

Tri sata "zlatnog glasa"

Ne znamo zašto je zaista u svojoj sedamdesetšestoj godini zivota odlucio nastupati ali njegovo ponašanje na bini nicim ne pokazuje da je prinuden na novu turneju. Njegova zanesenost kada kao dijete poskakuje dok ulazi na binu i zahvalnost dok sa skinutim šeširom objašnjava osjecaj privilegovanosti što je tu, neskriveno pokazuju da on u nastupu uziva mozda više nego publika. Na kraju, da mora biti tu svirao bi sat vremena, rekao hvala i otišao. U Zagrebu se "zlatni glas" slušao gotovo tri sata sa kracom pauzom da bend predahne a publika, uglavnom u zrelijim godinama, prekrši zabranu pušenja u hodniku i razbjesni redare.

Dok smo se nestrpljivo probijali kroz guzvu da pronademo parking pregledali smo registracije na autima ne bismo li vidjeli neku bosansku. Na našu zalost nismo uspjeli vidjeti nijednu. Nestrpljenje i nervoza su isparili kao dim prve jutarnje cigare kada je na skromnoj sceni ispred ogromnih zastora svjetlima obojenih u ljubicasto Cohen zapjevao Dance me to your beauty with a burning violin/ Dance me through the panic 'til I'm gathered safely in / Lift me like an olive branch and be my homeward dove / Dance me to the end of love...

Bez varanja u Zagrebu

Ekipa u redu 22 na ulazu C slozila se da od otvaranja u Areni niko nije imao bolji zvuk. Cohenov iskusni bend u Zagrebu ce biti teško nadmašiti. Ako moramo birati sasvim licno cemo reci da su se od odlicno odsviranih pjesama izdvajale Ain't No Cure for Love, In My Secret Life, Who By Fire, Hallelujah tokom koje je Cohen jedini put oci drzao otvorenima i umjesto u pod gledao prema nebu. Mnogi bi se muzicki kriticari slozili da verzija ove pjesme Rufusa Wainwrighta zvuci bolje od originalne studijske pjesme ali je zato njena ziva verzija uz Cohenov zanos "stotinu spratova iznad". U nedeljnoj noci nekada depresivni pjesnik a danas, cini se, veseli starac je u stihove dodao ime grada i iskreno otpjevao: I've told the truth, I didn't come to Zagreb to fool you.

Moramo istaci da je dozivljaj zive izvedbe So Long Marianne neuporediv sa nekom snimkom koncerta ili CD verzijom. Na noge je digla sve do posljednjeg gledaoca u Areni. Na kraju pjesme, Cohen se obratio publici što nije cinio cesto tokom koncerta: Hvala vam dragi prijatelji. Osjecamo se privilegovanim svirati za vas, rekao je Cohen i po drugi put predstavio svoj bend naklanjajuci se dugo i duboko svakom od njih i velikodušno im dijeleci komplimente poput "ucitelja" za klavijaturistu Neila Larsena; "nezamjenjivog gitaristu" Boba Metzgera; "neponovljivog" basistu Roscoea Becka; španskog sviraca dvanaesterca Javiera Masa; bubnjara Rafael Gayola koji "drzi ritam i cijeli bend na okupu"; saksofonistu Dinu Soldu; "inspirativnu i nezamjenjivu" Sharon Robinson i sestre Webb kao druga dva back vokala.

Njih su dvije sasvim neocekivano napravile salto na rukama dok je svirala pjesma Future uz stihove Your private life will suddenly explode / There'll be phantoms / There'll be fires on the road / and a white man dancing / You'll see a woman / hanging upside down...

Kada se u skoro trecem satu svog nastupa Cohen po treci put vratio na bis odlucio se našaliti sa publikom i odsvirao I Tried To Leave You ciji su prvi stihovi izazvali gromoglasan smijeh publike. Sa kamerne bine sa zastorima i tepihom Cohen i bend su se povukli uz pozorišni naklon.

Hvala im. Nadamo se da cemo ponovo biti blagoslovljeni da ih gledamo.






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LEONARD COHEN IN ZAGREB: The old man had not yet found a cure for love

Zurnal - July 27, 2010 by Semir Mujkic

Leonard Cohen has not played for more than 15 years and then we had to wait four more months to heal back and appears in Zagreb. We can not get over what was sung and the Chelsea Hotel No.2 nor resent him because Pligg beta 25 songs sung by the audience taste. We do not believe that any of the 10,000 people in the Zagreb Arena could not find a bigger grudge Cohen and his band. The songs are interrupted with applause and standing up more times than the U.S. president says in Congress. It was not what the courtesy clapping after songs. Cohen actually washed connect with his audience like a woman teacher with whom he spent half his life. They say that the Canadian tour after a decade and a half break, went because it was looted, manager and it is mentioned in almost every text in Croatian media days before the concert. Cohen as usual is not giving any statements or interviews, but the BBC managed to list out the "exclusive" to convey the poet has a modest demands: peace, tranquility and the Mercedes E class.

The three-hour "golden voice"

We do not know why it is really in its sedamdesetšestoj age decided to compete, but his behavior on stage in no way indicates that it is forced on a new tour. His rapture when a child hops while entering the stage and thanks to a hat while with removed privileges, which explains the feeling was there, he openly showed in a live perhaps more than the audience. Finally, it must be played to the hour, said thanks and left. In Zagreb, the "golden voice" heard nearly three hours with a short break to relax to the band and the audience, mainly in the more mature age, violates the prohibition of smoking in the hallway and furious bouncer.

While we impatiently their way through the crowd to find a parking registration to view the cars we do not we ever seen a Bosnian. Unfortunately we could not see any. Impatience and nervousness have evaporated like smoke the first cigarette in the morning when he was on a modest stage in front of the huge curtain painted in purple lights sang Cohen Dance me to your beauty with a burning violin / Dance me through the panic 'til I'm GATHERED safely in / Lift me like an olive branch and be my Homeward dove / Dance me to the end of love ...

No cheating in Zagreb

Team in line 22 on the door of C agreed that the opening of the Arena no one had better sound. Cohen experienced band in Zagreb will be hard to beat. If we must choose very personal to say that they are of great songs sprung odsviranih Is not No Cure for Love, In My Secret Life, Who By Fire, Hallelujah , during which Cohen was the only way to keep your eyes open, and instead looked to the sky. Many music critics would agree that this version of the song Rufus Wainwright sounds better than the original studio tracks but it is her live version of Cohen's fascination with "a hundred floors above." The Sunday night once a depressed poet today, it seems, happy old man in verses added the name of the city and honestly sung: I've told the truth, I did not come to Zagreb to fool you.

We must emphasize that the experience of live performance So Long Marianne incomparable with a recording of the concert or a CD version of the. The leg is lifted until the last viewer in the Arena. At the end of the song, Cohen addressed the audience, which is not done often during the concert: Thank you dear friends. We feel privileged to play for you, "said Cohen, and the second time presented the band naklanjajuci long and deeply to each of them and sharing them generously compliments such as" teacher "for the keyboardist Neil Larsen, "irreplaceable guitar," Bob Metzger, "unique" bassist Roscoe Beck; Spanish players duodenum Javier Masa, drummer Rafael Gayoom , who "keeps the rhythm and the whole band together"; saxophonist Dino Soldo, "inspiring and irreplaceable" Sharon Robinson and sisters Webb as the other two back vowels.

They are two quite unexpectedly made a somersault on his hands while playing the song Future of verse Your private life will suddenly explode / There'll be phantoms / There'll be fires on the road / and a white man dancing / You'll see a woman / hanging upside down ...

When almost in the third hour of its appearance Cohen for the third time he returned for encore, he decided to joke with the audience and played I Tried To Leave You , whose first verse provoked thunderous laughter of the audience. With the chamber stage with curtains and carpets Cohen and the band retreated to theatrical accolade.

Thanks to them. We hope that we will again be blessed to see them.


Thanks to Tom Sakic for providing this article.









Zagreb, Croatia

ENGLISH VERSION.

5 dana prije koncerta: Leonard Cohen stigao u Zagreb

Nacional.hr - July 20, 2010 by Andrea Belin (Photo: Pixsell)

Odjeven u crno odijelo i sa šeširom na glavi legendarni kanadski kantautor i pjesnik viden je na ulazu hotela Westin

Legendarni kanadski kantautor i pjesnik Leonard Cohen je stigao u Zagreb, pet dana prije koncerta kojeg ce odrzati u zagrebackoj Areni.

Odjeven u crno odijelo i sa šeširom na glavi viden je na ulazu hotela Westin. Doduše, koncert u Zagrebu Cohen je trebao odrzati još 15. ozujka, medutim nakon ozljede leda, cijela europska turneja je bila odgodena.

Inace, Leonard Cohen, kojega mnogi smatraju najutjecajnijim glazbenikom i kantautorom svih vremena, poceo je pisati još 50-ih godina, a glazbom se poceo baviti 60-ih, otkad je objavio 11 kultnih, sjajnih studijskih albuma s pjesmama u kojima varira utjecaj od folka do popa i jazza.

Najranije pjesme bile su mu ukorijenjene u europskoj narodnoj glazbi, a 70-ih godina opus mu se širi na pop, cabare, rock, blues i country. Ipak, njegov najjaci instrument je glas, a najveci su mu adut tekstovi s višestrukim znacenjem i neodoljivom emocionalnom snagom. Otkad se, nakon 15-godišnje stanke, vratio nastupima 2008. godine, njegovi su koncerti rasprodani diljem svijeta.








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5 days before the concert: Leonard Cohen arrived in Zagreb

Nacional.hr - July 20, 2010 by Andrea Belin (Photo: Pixsell)

Clad in a black suit and a hat legendary Canadian songwriter and poet is seen at the entrance to the Westin Hotel

Legendary Canadian singer-songwriter and poet Leonard Cohen arrived in Zagreb, five days before the concert which will be held at the Zagreb Arena.

Clad in a black suit and a hat is seen at the entrance to the Westin Hotel. However, the concert in Zagreb, Cohen is still scheduled to take place 15th March, however, after a back injury, the entire European tour has been postponed.

Otherwise, Leonard Cohen, whom many consider the most influential musician and songwriter of all time, he began writing, 50's, and the music began to engage in the 60s, since he published 11 fabulous, brilliant studio albums with songs that range in influence from folk to pop and jazz.

The earliest songs were rooted in his European folk music, and the 70s of his oeuvre is spreading to pop, Cabar, rock, blues and country. However, his most powerful instrument is the voice, but his greatest asset lyrics with multiple meanings and the overwhelming emotional power. Since, after a 15-year break, returned to perform 2008th year, its sold-out concerts around the world.










Salzburg, Austria

Set List - July 27, 2010

Per Maarten 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
Born In Chains
Chelsea Hotel
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You










Salzburg, Austria

ENGLISH VERSION.

Leonard Cohen live in Salzburg: Grandioser Gottesdienst

Salzburger Nachrichten - July 28, 2010 by Bernhard Flieher (Photo: Heinz Bayer)

Der kanadische Songwriter Leonard Cohen, mittlerweile 75 Jahre alt, erschien am Dienstagabend in der Salzburgarena. SN-Redakteur Bernhard Flieher wurde Zeuge der Feier eines Gottesdienstes der Poesie und der Demut.

Leonard Cohen (im Bild: SN/Heinz Bayer) zieht den Hut. Immer und immer wieder tut er das. Er zieht seinen kleinen schwarzen Hut vom Kopf, hält ihn sich an die Brust, schaut auf und beugt dann den Kopf demütig nach unten. Sein Lächeln, das den Hutzug begleitet, erzählt von Genugtuung. Allerdings ist sie nicht von der überheblichen Art, sondern von jener mit der jemand zeigt, wie sehr er sein Glück nicht fassen kann. In dieser Geste ans Publikum und noch viel öfter an seine Musiker auf der Bühne der Salzburgarena liegt einerseits Dankbarkeit und Demut, die das Publikum mit hoher Konzentration und Enthusiasmus im Applaus erwidert.

Der Mann, 75 Jahre alt und einer der bedeutendsten Songschreiber der Gegenwart, ja einer der wichtigsten Dichter des 20. Jahrhunderts, spielt noch einmal live. Und weil das so schön und ergreifend ist, muss Umstand, dass Cohen von seinen Finanzverwaltern um Millionen betrogen wurde, als glückliche Fügen betrachtet werden. Er wäre wohl nie mehr aus seinem Kloster gekommen, wohin er sich einst zurückgezogen hat. Und uns wäre ein Abend entgangen voller Schönheit der Poesie, erfüllt von Hingabe und mit einigen der besten Songs, die jemals gedichtet wurden. Cohen beschränkt sich dabei nicht auf die Verwaltung eines künstlerischen Schatzes. Er macht mit feinen Nuancen seine Lieder spürbar, ja frisch erlebbar, obwohl viele dieser Lieder - Suzanne, Bird On The Wire, Hallelujah, First We Take Manhattan oder Anthem längst zum Volksliedgut der Gegenwart gehören, zum Summen in einem durch poetische Popmusik sozialisierten Alltag.

„Wer weiß schon, ob wir uns wieder sehen", sagte ein manchmal beschwingter, leicht tänzelnder, meist aber in seine Songs vertiefter, nachdenklicher Cohen noch vor dem ersten Ton. Viel Zeit bleibt nicht mehr und die will er nutzen, Und deshalb wolle er „alles geben". Und das tut er dann dreieinhalb Stunden (mit Pause).

Ein bejubelter Gottesdienst findet da statt, mit einem gnädigen Herren, einer Heiligengestalt der Verbindung aus Wort und Ton. Dafür hat er sich eine fabelhaft gelaunte und im Lauf der Jahre bis in jeder Feinheit t bestens eingespielte Band engagiert. Herausragend aber die drei Chorsängerin, die dezent und treffsicher Cohens samtig-rauchige Stimme unterstützen. Daraus entsteht eine Mischung aus Unheimlichkeit und Verführung, der man nicht anders als mit einer tiefen Verbeugung Respekt zollen kann.

Hätte ich einen Hut, ich käme zu nichts anderem als ihn von Leonard Cohen zu ziehen.








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Leonard Cohen live in Salzburg: Grandioser Gottesdienst

Salzburger Nachrichten - July 28, 2010 by Bernhard Flieher (Photo: Heinz Bayer)

The Canadian songwriter Leonard Cohen, now 75 years old, appeared on Tuesday evening at the Salzburg Arena. SN-editor Bernhard Flieher witnessed the celebration of a church service of poetry and humility.

Leonard Cohen (pictured: SN / Heinz Bayer) takes the hat. Again and again he does das. He pulls his little black hat from his head, he sticks to his chest, looks up and leans her head humbly down. His smile, which accompanied the Hutzug tells of satisfaction. However, it is not the sort of arrogant, but from those with which someone shows how much he can not believe his luck. In this gesture to the audience and much more to his musicians on stage is one part of the Salzburg Arena gratitude and humility that the audience responded with a high concentration and enthusiasm in applause.

The man, 75 years old and one of the greatest songwriters of the present, so one of the major poets of the 20th Century plays, once again live. And because it is so beautiful and touching to be fact, that Cohen was cheated out of its financial managers millions, are considered lucky joining. He would probably never come out of his monastery, where he had once withdrawn. And we would have missed an evening full of beauty of poetry, filled with devotion and with some of the best songs ever written. Cohen is not limited to the management of an artistic treasure. He makes noticeable with fine nuances of his songs, so fresh experience, although many of these songs - Suzanne, Bird on a Wire, Hallelujah, First We Take Manhattan and Anthem have long been popular songs of the present, the sums in a socialized through poetic pop music everyday.

"Who knows whether we shall meet again," said a sometimes exhilarating, slightly prancing, but most of his songs in-depth, thoughtful Cohen before the first note. Much time is no more and he wants to use, and therefore he would "do everything". And he does it three and a half hours (with intermission).

An acclaimed worship takes place there, with a gracious gentlemen, a holy form combining word and sound. But he has a fabulous and tempered over the years to every subtlety t well-rehearsed band involved. Outstanding but the three choral singer who support discreetly and accurately Cohen's velvety smoky voice. The result is a blend of eeriness and seduction, which you can not help but pay tribute with a deep bow of respect.

If I had a hat, I would come to nothing other than drag it to Leonard Cohen.










Salzburg, Austria

ENGLISH VERSION.

Der Grandseigneur der Schwermut

der Standard.at - July 28, 2010 by Gerhard Dorfi

Der kanadische Pop-Poet Leonard Cohen betörte in Salzburg sein Publikum mit Witz und Würde

Salzburg - Wir sind alle nur Transitreisende auf dieser Erde - wann die Aufenthaltsgenehmigung abläuft, weiß niemand. Das gilt auch für Leonard Cohen, der demnächst 76 wird und im Vorjahr während eines Auftritts kollabierte. Seitdem bestellt der Barde zu jedem Konzert einen Arzt und lässt sich die Adressen der örtlichen Nachtapotheken geben.

Nachdem vor fünf Jahren seine damalige Managerin und Lebensgefährtin seine Altersrücklage - fünf Millionen Dollar - veruntreut hatte, ist er wieder aus dem Dornröschenschlaf im zenbuddhistischen Kloster erwacht. Was den Fan freut, denn mit Cohen verhält es sich wie weiland mit Johnny Cash oder Lee Hazlewood: je älter, desto besser.

Seit 2008 befindet er sich mit neunköpfiger Begleitband und umfangreichem Best-of-Programm nun auf Tour. Am Dienstag machte der fahrende Sänger in der Salzburgarena Station, wo er seinen Arbeitsplatz wie üblich in schwarzem Anzug und mit Hut betrat. Das Eröffnungslied Dance Me To The End Of Love sang Cohen vor dem spanischen Bandurria-Gitarristen Javier Mas hockend, nebenbei becircte er - ganz Gentleman und Frauenflüsterer - seine Sirenen Sharon Robertson sowie Hattie und Charley Webb.

Für den Sound zeichnete Roscoe Beck verantwortlich, Blues-Riffs steuerte der zweite Gitarrist Bob Metzger bei, Neil Larsen Hammond-Orgel-Grooves, Dino Soldo das King-Curtis-Gedächtnis-Saxofon. Neben dem Schmelz-Pop-Appeal von Everybody Knows oder Bird On A Wire gab es sparsamer instrumentierte Lieder wie If It Be Your Will, bei Halleluja hielt das gesittete Auditorium Cohens Auftritt für ein Hochamt, die heilige Messe eines Asketen und Dandys in einer Person. Wenn die Halle in Salzburg nicht bestuhlt gewesen wäre, hätte er zum Soul von Boogie Street eigentlich tanzen müssen, aber erst nach Beginn der Zugaben strömte das Publikum Richtung Bühne.

Dass der Grandseigneur der Schwermut auch witzig sein kann, bewies er beim grandiosen Nachruf auf den Country-Outlaw Hank Williams, Tower Of Song, als er nach dem Applaus über sein Einfingersolo am Synthesizer feststellte: "Ihr in Salzburg wisst wenigstens ein gutes Musikstück zu schätzen." Lachen mit Lenny Cohen, eine neue Disziplin im Land der Bitterkeit.

Und lachen ist gesund, denn der Arzt musste auch nach gut dreistündigem Programm dem Troubadour nicht beistehen. Im Gegenteil: Wie ein kreuzfideles Springinkerl hüpfte dieser zwischen den Songs von der Bühne, vom kolportierten Rückenleiden keine Spur. Chapeau!








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The grand master of melancholy

der Standard.at - July 28, 2010 by Gerhard Dorfi

The Canadian pop-poet Leonard Cohen in Salzburg beguiled his audience with humor and dignity

Salzburg - We are all just passengers in transit on this planet - when the permit expired no one knows. The same goes for Leonard Cohen, who will soon be 76 and last year collapsed during a performance. Since then, the bard appointed to each concert and a doctor can give the addresses of the local night pharmacies.

After five years ago, his former manager and his girlfriend pension reserve - had embezzled five million U.S. dollars - he is again awakened from the slumber in the Zen Buddhist monastery. What pleases the fans, because it behaves like Cohen formerly with Johnny Cash and Lee Hazlewood: the older the better.

Since 2008 he is with nine accompanying and comprehensive best-of-program now on tour. On Tuesday was the minstrels in the Salzburg Arena Station, where he work as usual in a black suit and hat, walked into his. The opening song Dance Me To The End Of Love Cohen sang in front of the Spanish-guitar player Javier Mas Bandurria squatting, by the way he becircte - no gentleman and woman Whisperer - its siren Sharon Robertson and Hattie and Charley Webb.

For the sound of Roscoe Beck drew responsible blues riffs contributed the second guitarist Bob Metzger at, Neil Larsen Hammond organ grooves, Dino Soldo the King Curtis Memorial saxophone. Next to the enamel-pop appeal of "Everybody Knows or Bird On A Wire , there was more economical orchestrated songs like If It Be Will Your in Hallelujah held the civilized Auditorium Cohen's appearance for a High Mass, the Mass of an ascetic and dandy in a person. If the hall in Salzburg would have had no chairs, he would have the Soul of Boogie Street dance really need, but only after the start of the encores, the audience rushed the stage.

The fact that the grand master of melancholy, funny can be, he showed the grand tribute to the country outlaw Hank Williams, Tower of Song, when, after the applause of his Einfingersolo on synthesizer stated: "You Salzburg know at least one good piece of music to appreciate . Laugh with Lenny Cohen, a new discipline in the land of bitterness.

And laughing is healthy, because the doctor had not even stand after a good three-hour program to the Troubadour. On the contrary, like a cross fideles Springinkerl this hopped between songs from the stage, circulated by the back pain no trace. Chapeau!










Salzburg, Austria

ENGLISH VERSION.

Engel im Schatten von Schwermut

Salzburger Nachrichten - July 28, 2010 by Bernhard Flieher

Hochamt. Schwermut gehört dazu , wenn Leonard Cohen singt. Das war auch beim Konzert in Salzburg so. Der Schwermut drückt aber nicht zu Boden, sondern erhebt beim Zuhören in einen Zustand heiliger Zuneigung.

Engelsstimmen verstärken das raue Flüstern. Die Seelen, denen sie Leben einhauchen, stammen aus früheren Zeiten. Sie gehören Leonard Cohen. Seine Engel sind drei Backgroundsängerinnen: Sharon Robinson und die Webb-Sisters Charlie und Hattie. Dezent seelenvoll und treffsicher unterstützen sie die samtig-rauchige Stimme des alten Mannes - eine gesungene Liebesbeziehung. Nichts Flüchtiges. Ein Zustand, der - auch im Verhältnis zwischen Künstler und Publikum spürbar - am Dienstagabend aus der charmelosen Mehrzweckarena einen Ort mit heiliger Aura macht, an dem auch die Melancholie summt, die um letzte Chancen entsteht.

Immer wieder zieht Leonard Cohen seinen Hut. Er zieht ihn vom Kopf, hält ihn an die Brust, verbeugt sich. In seinem Lächeln, das den Hutzug begleitet, liegt Genugtuung. Allerdings ist sie nicht von überheblicher Art. Eher erkennen wir einen, der sein Glück noch einmal fassen will. Ein Glück, dass seine Lieder auslösen.

Diese Geste ans Publikum und noch viel öfter an seine Musiker drückt Dankbarkeit und Demut aus. Schön, dass ich noch da bin - und ihr auch, sagt diese Geste. Das Publikum antwortet mit hoher Konzentration und Enthusiasmus. „Wer weiß, wann wir uns wieder sehen", sagt Cohen, bevor er noch einen Ton singt. Schwermut und Melancholie erreichen uns da schon. Sie werden nicht mehr verschwinden, egal ob Cohen ein beschwingtes Tänzchen andeutet oder er, seine Songs ergeben, nachdenklich erzählt. Viel Zeit bleibt nicht mehr. Er will sie nutzen. Deshalb wolle er „alles geben" - und tut das dreieinhalb Stunden (mit Pause) lang.

Der Mann, 75 Jahre alt, einer der wichtigsten Songpoeten der Gegenwart, spielt noch einmal live. Und weil das so ergreifend ist, muss der Umstand, dass Cohen von Finanzverwaltern um Millionen betrogen worden ist, als glückliche Fügung betrachtet werden. Freilich war das hinterhältiger Betrug. Cohen-Fans hingegen dürfen darin das Werk eines bösen Engels erkennen, der ihnen Gott noch einmal auf die Erde schickt, damit er seinen Lebensabend zu finanzieren kann.

Cohen, zunächst Buchautor, ab Ende 1967 als Sänger erfolgreich, wäre wohl nie mehr aus dem Kloster gekommen, wohin er sich einst zurückgezogen hatte. Ohne den Betrug wäre uns ein Abend entgangen voll reifer Schönheit in Songs, die zum Volksliedgut gehören, zum Summen in einen von Popmusik sozialisierten Alltag.

Wenn das Publikum am Bühnenrand schmachtet, wenn es zu „Suzanne" oder „So Long Marianne" sanft wogt, vergeht die Heiligkeit ein paar Momente lang. Im Gemeindegesang bei folkig inspirierten Hits schwingt das Profane mit, weil sich das Erhabene vermischt mit bedingungsloser Gläubigkeit, mit der es bewundert wird. Die Begeisterung ereignet sich nie als Ausgelassenheit. Es wird gestaunt. Ehrfürchtigen Huldigungen gleichen die gehauchten Refrains, die eine Dame im Blümchenkleid, das aus der Zeit der ersten Cohen-Alben stammen dürfte, dem Mann oben im Licht von ihren Platz auf dem Boden zusendet.

Da flattern die Engel der Erinnerungen ans erste Hören, ans erste Küssen, an die erste Nacht - bei der womöglich ein Cohen-Song lief. Nicht ein Soundtrack der Bestätigung klang da aber. Bei aller Liebe und Leidenschaft tauchen immer auch Vergeblichkeit und Untergang auf, lauern am Rand jedes Liebesnestes. Und dort, in der Bedrohlichkeit, die jedes Ende, jeder Niederlage in sich bergen, erzeugt Cohen beim Konzert die größte Intensität. Wie aus einem Tunnel rollt die Stimme gefährlich in „The Future", die „murder" ist. Erzählt wird ohne Sentimentalität von der Gewissheit, dass alle Dinge ihr Ende haben („Everybody Knows"). 25 Songs. Jeder für sich ein Gebet. Alle zusammen eine Messe.

Ein bejubelter Gottesdienst findet da statt. Es zelebriert ein gnädiger Herr, der heilig gesprochen wurde, weil er Dichtung und Ton zu untrennbarer Einheit verschmilzt. Pop und Poesie, in jedem Vers fein austariert, akribisch beim Ringen um das wahre Wort, machen Gefangene, die sich gern ergeben. Um den Klang - bei manchen Songs 40 Jahre nach ihrem Erscheinen - in eine neue Zeit zu heben, wird Cohen begleitet von einer fabelhaft gelaunten Band. Sie zerstört nicht, was schon im Original kaum überbietbar war. Stattdessen wird mit Feinheiten brilliert. Da und dort wird das Tempo verändert, gibt es solistische Verzierungen. Immer aber sorgen die Musiker im Großen für perfektes Timing und einen Teppich, über den sich Herr Cohen völlig ungeschützt tief in Zeilen und Melodien bewegen kann.

Eine Mischung aus Unheimlichkeit und Verführung entsteht, der man nicht anders als mit einer tiefen, liebenden Verbeugung begegnen kann. Während seine drei Engel eindringlich „repent, repent" (zu deutsch: Buße tun) fordern, hält Cohen entgegen: „But love is the only engine of survival." In seinen Songs. Immer. Überall.






Translated by Google Translate

Angel in the shade of melancholy

Salzburger Nachrichten - July 28, 2010 by Bernhard Flieher

High mass. melancholy part of it, when Leonard Cohen sings. That was at the concert in Salzburg Sun The melancholy is expressed but not to the ground, but decides to listen to a state of holy affection.

Angel voices reinforce the harsh whisper. The souls, who breathed life into them, date from earlier times. They include Leonard Cohen. His angels are three backup singers Sharon Robinson and the Webb Sisters Charlie and Hattie. Appealing soulful and accurately, they support the velvety smoky voice of the old man - sung a love relationship. Nothing elusive. A state that - even in relationship between artist and audience felt - Tuesday evening from the charmelosen multipurpose arena with holy aura makes it a place on where the melancholy buzzing even that last chance to create.

Again and again draws Leonard Cohen his hat. He pulls it from his head, holds him to her breast, bows. In his smile, which accompanied the Hutzug, is satisfaction. However, it is not presumptuous of Art Rather, we recognize one who wants to believe his luck again. Luckily, cause his songs.

This gesture to the audience and much more to his music expresses gratitude and humility. Nice that I'm still here - and it also says the gesture. The audience responds with a high concentration and enthusiasm. "Who knows when we shall meet again," says Cohen, before he sings a note. Sadness and melancholy we reach there already. They will not disappear, no matter whether Cohen suggests a sprightly little dance and he revealed his songs, thoughtfully told. Have not much time left. He wants to use them. Therefore, he wanted to "give everything" - and does so three and a half hours (with intermission) long.

The man, 75 years old, one of the most important poets of the present song plays again live. And because it is so moving, it must be the fact that Cohen of financial managers have been defrauded of millions, regarded as a happy coincidence. Sure, was the insidious fraud. Cohen fans, however it may contain the work of an evil angel recognize that God sends them again to the earth so that he can finance his retirement.

Cohen, first author, from the end of 1967 success as a singer would probably never come out of the monastery, where he had once withdrawn. Without the fraud would be a night we escaped fully mature beauty in songs that are part of folk music, the buzz of pop music in a socialized everyday.

If the public languishes at the edge of the stage, if for "Suzanne" or "So Long Marianne surges" gently, the sanctity passes a few moments long. In community singing with folky inspired hits the profane with swings, because the sublime mixed with unquestioning faith, with which it is admired. The excitement never happens as exuberance. There will be amazed. Reverent homage of the same breathy refrains, the lady in a flower dress, which expected to come from the time of the first Cohen albums, sending to the top man in the light of their place on the ground.

As the angels fly to the memories of first hearing, to the first kiss, the first night - in perhaps ran a Cohen song. Not a soundtrack but as the confirmation sound. For all the love and passion appear again on futility and destruction lurking on the edge of each love nest. And there, in the threat, which hold each end, each defeat, Cohen produced a concert, one of the greatest intensity. As the voice of a tunnel rolls dangerously in "The Future", the "murder" is. Is told without sentimentality from the certainty that all things have their end ("Everybody Knows"). 25 Songs. I'm Your Man a prayer. All together a show.

An acclaimed worship takes place there. It celebrates a gracious gentleman who was canonized because he blends poetry and sound into one indivisible unit. Pop and poetry, each verse carefully balanced, meticulous in wrestling at the true word, take prisoners, who liked to arise. To the sound - to lift in some songs, 40 years after their appearance - into a new time, Cohen is accompanied by a fabulous band humored. It does not destroy what was already in the original barely outdone. Instead, with brilliant subtlety. Here and there, the tempo changed, there are solo embellishments. But always, the musicians provide the perfect timing and great for a carpet over which Mr. Cohen can move completely unprotected in deep lines and melodies.

A blend of eeriness and temptation arises, one can not meet otherwise than by a deep, loving bow. During his three angels forcefully "repent repent," (German for: repent) demand, Cohen replies: "But love is the only engine of survival." In his songs. Always. Everywhere.










Salzburg, Austria

ENGLISH VERSION.

Cohen bewies in Salzburg, dass man auch in Würde altern kann

Tiroler Tageszeitung - July 28, 2010

Der Kanadier Leonard Cohen begeisterte das Publikum am Dienstagabend bei seinem Konzert.

Salzburg - Ausdauer hat er: Es war fast Mitternacht, als sich der kanadische Liedermacher Leonard Cohen nach einem intensiven Konzert und gut einem halben Dutzend mitreißender und berührender Zugaben am Dienstagabend in der Salzburgarena von seinem Publikum verabschiedete. „Here's a man still working for your smile" hatte er doppeldeutig in einem seiner letzten Lieder gesungen und dafür Standing Ovations von seinen begeisterten Zuhörern erhalten, die von „Closing Time" nichts hören wollten.

Auch Festspiel-Stars mit dabei

Auch wenn es wohl ein Zufall war, dass dieses zur World-Tour 2010 gehörende Konzert des fast 76-jährigen Rock-Poeten mit der unverkennbar rauchig-sanften Stimme just zu Beginn der Salzburger Festspiele stattfand: Fast hätte man den Eindruck haben können, dass der Auftritt als kleiner Kontrapunkt im Programm des Festivals geplant gewesen sein könnte. Das haben sich wohl auch einige Festspielstars wie Buhlschaft Birgit Minichmayr, „Jedermann"-Regisseur Christian Stückl oder Konzertchef Markus Hinterhäuser gedacht. Sie haben das Konzert, für das sie auf die „Dionysos"- und „Innenschau"-Festspielpremieren verzichtet hatten, sichtlich genossen.

Es gab gar nicht so wenige Parallelen zwischen dem Cohen-Auftritt und der „Ödipus"-Premiere auf der Pernerinsel am Vorabend. Hier wie dort ein in die Jahre gekommener Mann, der den Abend durch seine Präsenz und seine künstlerische Erfahrung trug, der vor seinen Zuhörern Bilanz legte - der alternde Ödipus über sein von Mord und Inzest geprägtes Leben, der erstaunlich jung und kraftvoll wirkende Cohen über Liebe, Sehnsucht, Weltschmerz und Enttäuschungen. Hier wie dort ein Auftritt, der völlig ohne Schnickschnack und Effekte auskommt. Beides Klassiker in ihrem jeweiligen Genre. Auf der Pernerinsel eine große, graue Bühne mit einem lauschigen Hain in der Mitte, in der Salzburgarena ein traditioneller Vorhang mit Scheinwerfern, die die Bühne für jedes Lied in eine andere Grundfarbe tauchen. Keine Lichtorgeln, keine Videowalls mit Computeranimationen, keine künstlichen Nebel und keine Spezialeffekte.

Cohen benötigte keine große Bühnenshow

Die Bühnenshow Cohens reduziert sich auf drei Background-Sängerinnen, die ihre Hüften schwingen und sich ab und zu ihre Jacken an- und wieder ausziehen. Das gibt dem kanadischen Liedermacher breiten Raum, lenkt nicht ab vom Wesentlichen: seiner Musik - große Klassiker wie „Suzanne", „So Long, Marianne", „Chelsea Hotel" oder „First We Take Manhattan" ebenso wie neuere Werke wie „Boogie Street". Cohen macht vor, wie man als großer Mann der Rockgeschichte in Würde altern kann.

Trotzdem machte sich im zweiten Teil des Auftritts ein Hauch von Langeweile im Publikum breit. Erst seine großen Hits wie der Gospelsong „Hallelujah" rissen die Zuhörer wieder aus einer gewissen Müdigkeit. Die Zugaben entschädigten für kleinere Längen im vorangegangenen Teil. Viele Besucher standen auf und strömten in Richtung Bühne, um den Meister der romantischen Tristesse zu feiern. Auch Cohen lief angesichts der Begeisterung erneut zu Hochform auf und hatte sichtlich Spaß an seinem Auftritt. Er hüpfte winkend von der Bühne - so mancher im Publikum tat sich beim Aufstehen nach Stunden des Sitzens schwerer. Die Alterswertung des Publikums dürfte am Dienstag nämlich nicht an die Festspiele, sondern an Cohen gegangen sein. Die Generation 50 plus war eindeutig in der Überzahl - ganz nach dem Motto: Es war einmal und es war einmal schön.






Translated by Google Translate

Cohen showed in Salzburg, that you can also grow old with dignity

Tiroler Tageszeitung - July 28, 2010

The Canadian Leonard Cohen wowed the audience at his concert on Tuesday evening.

Salzburg - He has stamina: It was nearly midnight, when the Canadian songwriter Leonard Cohen after a busy concert and a good half dozen rousing and touching gifts of the Salzburg Arena on Tuesday evening from his audience in adopted. "Here'sa one still working for your smile", he had a double meaning of his last songs sung in it and standing ovations from his enthusiastic listeners receive the "Closing Time" did not hear of.

Even with this festival-Stars

Even if it was a coincidence perhaps, that this the World Tour 2010 owned concert of the nearly 76-year-old rock poet with the unmistakable smoky-sweet voice just at the start of the Salzburg Festival took place: almost had you can have the impression that the may have been small appearance as a counterpoint in the program of the festival scheduled. This probably also have some festival stars like MISTRESS Birgit Minichmayr, "everyone" director Christian Stückl or concert director Markus thought Hinterhäuser. You have the concert, for which she had waived the "Dionysos" - and "introspection" festival premieres, clearly enjoyed.

There were not a few parallels between the Cohen-appearance and the "Oedipus" premiere on the Perner Island the night before. Here and there a man getting on in years, who wore the evening with his presence and his artistic experience, presented his listeners balance - the aging Oedipus about his life of murder and incest embossed, the astonishingly young-looking and powerful Cohen on love , nostalgia, world-weariness and disappointment. Here as there, a presence that do not depend on gadgets and effects. Both are classics in their genre. On the Island Perner a great gray stage with a secluded grove in the middle, in the Salzburg Arena a traditional curtain with headlamps that dip the stage for every song in a different primary color. No light organs, no video screens with computer animation, artificial fog, and no special effects.

Cohen did not require a large stage show

The stage show Cohen's reduced to three background singers, swing their hips and on now and take off their jackets, and again. This gives the Canadian singer-songwriter much space, not distract from the essentials: his music - great classics like "Suzanne," "So Long, Marianne", "Chelsea Hotel" and "First We Take Manhattan" as well as more recent works such as "Boogie Street ". Cohen demonstrates how you can age as a great man of rock history with dignity.

Nevertheless, began to spread in the second part of the performance an air of boredom in the audience. Only his big hits like the gospel song "Hallelujah ripped" the audience back from a certain weariness. The encores compensated for smaller lengths in the previous part. Many visitors stood and streamed to the stage to celebrate the master of romantic sadness. Cohen was also given the enthusiasm again clearly on top form and had fun at his appearance. He hopped waving from the stage - as did many in the audience is standing up heavy after hours of sitting. The age of the audience rating is likely to be gone on Tuesday that is not at the festival, but to Cohen. Generation 50 plus was a clear majority - following the motto: It once was and it was once beautiful.










Salzburg, Austria

ENGLISH VERSION.

Leonard Cohen: Vom Dichter zum Sänger

OÖNachrichten - July 29, 2010

Mit eindringlichen Songs von unwiderstehlicher Strahlkraft im Gepäck eröffnete am Dienstag Rock-Poet Leonard Cohen (75) mit einem heftig umjubelten Konzert in der Salzburgarena seine wohl letzte Österreich-Tournee.

Langsam nimmt Leonard Cohen den Hut ab, legt diesen ans Herz, verbeugt sich leicht: „Unser Weg führt uns wahrscheinlich kein weiteres Mal hierher zu euch, diesen Abend werden wir aber für immer in unseren Herzen tragen". Dann dreht er sich um und geht von der Bühne. Beim Abgang ein fast übermütiger Luftsprung.

Es war ein Abend voll schwermütigem Glanz, intensiv und tief berührend. Ein dreieinhalbstündiger Ausflug ins Schattenreich der Träume und Hoffnungen. Leonard Cohen, der Dichter, der zum Sänger wurde, verzauberte mit dem Timbre eines alten Bluessängers, dem bereits die hohen Töne fehlen. Eine Stimme wie Sandpapier. Mit diesem Organ muss Moses einst die Zehn Gebote verkündet haben.

Von biblischem Zorn befeuert, legt der 75-Jährige gleich zu Beginn mit einem furiosen „The Future" los. Was folgt, sind zwei Dutzend Cohen-Klassiker zwischen untergründiger Melancholie, Schmerz, Wirrnis und unstillbarer Sehnsucht: „Who By Fire", ein beklemmendes „Suzanne", das Janis Joplin gewidmete „Chelsea Hotel #2" oder „Famous Blue Raincoat". Reduzierte Lieder. Einfache Melodien. Karge Instrumentierung. Eine Schlichtheit, die gewaltig klingt. Songs, für die Ewigkeit gefertigt.

Wiederholt kniet Cohen demütig nieder, den Blick gesenkt. Oft minutenlang. Singend. Vielleicht um die eigene Person kleiner und seine Lieder noch größer erscheinen zu lassen?

„Nur für die Musik gelebt"

Der emotionale Höhepunkt eines an denkwürdigen Momenten reichen Abends ist Cohens Deutung seines Klassikers „First We Take Manhattan". Ein Songtext wie eine Grabstein-Inschrift: „Erinnert euch an mich, ich habe nur für die Musik gelebt." Betroffenheit im Publikum. Zugeschnürte Kehlen allenthalben. Eine Stille, die förmlich zum Himmel schreit. Dann Jubel. Unbändiger Jubel.






Translated by Google Translate

Leonard Cohen: From poet to singer

OÖNachrichten - July 29, 2010

Opened In haunting songs of irresistible charisma in his luggage on Tuesday rock poet Leonard Cohen (75) with a violent acclaimed concert at the Salzburg Arena its probably last tour of Austria.

Slowly increases from Leonard Cohen's hat, it shall submit to his heart, bowed slightly, "Our path leads us probably have no more time here to you this evening but we will carry forever in our hearts." Then he turns around and walks off the stage. On the disposal of an almost arrogant air jump.

It was an evening full of melancholy brilliance, intense and deeply touching. A half hour trip into the shadowy realm of dreams and hopes. Leonard Cohen, the poet, who became a singer, enchanted with the timbre of a former Blue singer, lacking the high notes already. A voice like sand paper. This institution must have once proclaimed Moses the Ten Commandments.

Fired from biblical wrath, the 75-year-old sets at the beginning with a furious "The Future" los. What follows are two dozen Cohen classic between subliminal melancholy, pain, confusion and unquenchable longing: "Who By Fire," an oppressive "Suzanne," which Janis Joplin dedicated to "Chelsea Hotel #2" or "Famous Blue Raincoat." Reduced songs. Simple melodies. Sparse instrumentation. A simplicity that sounds huge. Songs, made to last.

Cohen repeatedly kneeling down humbly lowered his eyes. Often several minutes. Singing. Perhaps around their own little person and to make his songs even more?

"Only lived for music"

The emotional high point of a range of memorable moments of the evening is Cohen's interpretation of his classic "First We Take Manhattan." A lyrics like a tombstone inscription: "Remember me, I have only lived for music." Consternation in the audience. Constricted throats everywhere. A silence that literally cries out to heaven. Then cheers. Unbridled jubilation.










Graz, Austria

Set List - July 28, 2010

Per majmunka 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
Born In Chains
Chelsea Hotel
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
Boogie Street
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Closing Time
I Tried to Leave You










Graz, Austria

ENGLISH VERSION.

Cohen kam, sang und blieb

Kleine Zeitung - July 28, 2010 by Andrea Stanitnig (Photo: Sabine Hoffmann)

Leonard Cohen verbrachte einen ganz entspannten Tag in Graz. Sein Konzert vor rund 3500 Fans eröffnete der Kanadier mit "Dance me to the End of Love". Er wurde heftig beklatscht.

Auf Terminstress wollte Musiklegende Leonard Cohen bei seinem Graz-Besuch komplett verzichten. Und so fiel auch ein geplanter Eintrag ins Goldene Buch der Stadt ins Wasser. Zu kompliziert, zu wenig Zeit. Der 75-Jährige absolviere eine anstrengende Tour und wolle sich lieber entspannen, hieß es. Entspannt ist auch schon das richtige Stichwort: Kurz nachdem er aus Salzburg gelandet war, rollte er in einer schwarzen Limousine vor der Stadthalle an, kritzelte bestens gelaunt zwei Autogramme und rauschte in Richtung Soundcheck. Und auch dabei ging es gemütlich zu. "Das klingt sehr gut", kommentierte Cohen, der nicht einmal dabei seinen berühmten Hut abnahm. Sein Konzert vor rund 3500 Fans eröffnete er mit "Dance me to the End of Love". Cohen wurde heftig beklatscht.

Was sonst noch geschah? Der Kanadier, der seit letztem Jahr mit gesundheitlichen Problemen zu kämpfen hat (wir berichteten), tafelte ein Menü mit viel Gemüse, Fisch und Obst. Sein Management ließ sich währenddessen die Route zu seinem Hotel erklären. Cohen nächtigte nämlich im Marriott am Schwarzlsee in Unterpremstätten. Noch hat der Meister das Steirerland nicht verlassen.









  










Translated by Google Translate

Cohen was singing, and remained

Kleine Zeitung - July 28, 2010 by Andrea Stanitnig (Photo: Sabine Hoffmann)

Leonard Cohen spent a very relaxing day in Graz. His concert before some 3,500 fans of the Canadians opened with "Dance Me to the End of Love". He was applauded vigorously.

Stress wanted to date music legend Leonard Cohen on his visit to Graz refrain completely. And so a planned entry into the Golden Book of the City fell into the water. Too complicated, too little time. The 75-year-old graduate from a demanding tour and would rather relax, it said. Relaxed is already the right keyword: Shortly after he arrived from Salzburg, he rolled in a black limousine in front of city hall, two autographs scribbled in high spirits and rushed towards the sound check. And while it was too comfortable. "That sounds very good," said Cohen, who declined even while his famous hat. His concert before some 3,500 fans, he opened with "Dance Me to the End of Love". Cohen was applauded vigorously.

What else happened? The Canadian, who is struggling with health problems since last year (as reported), dine, a menu with lots of vegetables, fish and fruit His management could be explained while the route to his hotel. Cohen spent the night at the Marriott on Schwarzlsee namely in Mount Dandenong. Even the Master has not left the Steirerland.










Graz, Austria

ENGLISH VERSION.

Blue hours with Leonard

Kleine Zeitung - July 29, 2010 by Bernd Melichar

Der große Lieder-Poet Leonard Cohen zelebrierte in der Grazer Stadthalle ein Hochamt der Melancholie.

Beginnen wir damit, wie es geendet hat: Nach einem dreistündigen Hochamt der Melancholie, in dem Leonard Cohen die rund 4000 Zuhörer nicht um den kleinen Finger, sondern um sein großes Inneres gewickelt hat, stimmte der 76 Jahre alte Kanadier seinen allerletzten Song an, sank das letzte Mal auf die Knie und sprach dann kokett diesen wunderbaren Satz: "Good Night, My Darling, I Hope You Were Satisfied." Als Antwort brandete ein finaler, frenetischer Applaus auf, der die tiefe Zufriedenheit für ein Erlebnis ausdrückte, das weit mehr war als ein gelungenes Konzert.

Wir verdanken es übrigens der betrügerischen Managerin von Leonard Cohen, die diesen um fünf Millionen Euro erleichtert hat, dass dieser edle Fürst der Finsternis seinen Lebensabend nicht auf Hydra, dem Chelsea Hotel oder im Elfenbeinturm seiner Songs verbringt, sondern auf den Bühnen dieser Welt.

Nach Graz: Alles ist perfekt an diesem Abend. Die Akustik in der bockigen Stadthalle, das homogene Zusammenspiel der erstklassigen Musiker, der ehrfürchtige Umgang miteinander, die rührende Offenheit des Publikums. Man spürt, dass hier nicht nur ein begnadeter Künstler bejubelt wird, sondern ein geliebter Wegbegleiter, der seit Jahrzehnten zum Soundtrack des Lebens gehört.

Buddhistisches Mantra

Cohen, der fünf Jahre in einem Kloster verbracht hat, zelebriert seinen Songkatalog wie ein buddhistisches Mantra. Er holt all seine "Beautiful Losers" aus dem Rinnstein, gibt ihnen Stimme und Würde. Die fast religiöse Bewunderung, die ihn umgibt, resultiert nicht aus seiner Unfehlbarkeit, sondern dem genauen Gegenteil. Das besondere Faszinosum: Erst jetzt, im Alter, ist Leonard Cohen dort angekommen - im Land der endlichen Dinge -, worüber er bereits als junger Mann gesungen hat.

"Bird On The Wire", "Who By Fire", "Suzanne", "So Long, Marianne", "Sisters Of Mercy", "First We Take Manhattan", "Famous Blue Raincoat". . . Die bloße Aneinanderreihung von Songs greift zu kurz. Das Ganze ist mehr als die Summe der Einzelteile. Die blauen Stunden mit Leonard Cohen, sie enden kurz vor Mitternacht. Immer wieder tänzelt der große, alte Mann leichtfüßig von der Bühne. Und wird zurückgeklatscht. "I Did My Best, It Wasn't Much", zwinkerte er uns an diesem unvergesslichen Abend in einem Song zu. Doch, Mr. Cohen, es war sehr viel.






Translated by Google Translate

Blue hours with Leonard

Kleine Zeitung - July 29, 2010 by Bernd Melichar

The great song-poet Leonard Cohen celebrated a High Mass in the Graz city hall of melancholy.

Let's start with how it ended: After a three-hour Mass of melancholy, which has not Leonard Cohen, the 4,000 audience wrapped around his little finger, but to his great affairs, approved the 76-year-old Canadian on his very last song that sank the last time on his knees and then said, coquettishly this wonderful phrase: "Good Night, My Darling, I Hope You Were Satisfied." Surged in response to a final, frenetic applause of the deep satisfaction expressed for an experience that was far more successful than a concert.

We owe it to the way the fraudulent manager of Leonard Cohen, this has facilitated around five million euros, that this noble prince of darkness, not his life on Hydra, the Chelsea Hotel, or in the ivory tower of his songs to spend, but on the stages of this world.

After Graz: Everything is perfect on this evening. The acoustics in the stubborn city hall, the homogeneous interaction of the first-class musicians, awesome deal with each other, touching the openness of the public. One senses that this is not only a gifted artist is acclaimed, but a beloved companion, who has for decades been the soundtrack of life.

Buddhist Mantra

Cohen, who has spent five years in a monastery, celebrated his song catalog as a Buddhist mantra. He gets all his "Beautiful Losers" from the gutter, give them voice and dignity. The almost religious admiration that surrounds it resulted, not from his infallibility, but the exact opposite. The special fascination: Only now, the age, Leonard Cohen has arrived there - in the Land of finite things - what he has already sung as a young man.

"Bird on a Wire," "Who By Fire," "Suzanne," "So Long, Marianne", "Sisters Of Mercy", "First We Take Manhattan," "Famous Blue Raincoat." . . The mere juxtaposition of songs is not enough. The whole is greater than the sum of its parts. The blue hours with Leonard Cohen, they end just before midnight. Again and again dances the grand old man nimbly from the stage. And will zurückgeklatscht. "I Did My Best, It Wasn't Much," he winked at us on that unforgettable evening in song. But, Mr. Cohen, it was very much.







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