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

September 1, 2010
Florence/Firenze, Italy
Piazza Santa Croce

 Set List for September 1
Diretta News review & photo
La Nazione review
La Repubblica review
La Terra News review
Lo Schermo review
Corriere Della Sera article & photos
Thanks to Paul for sharing
Youtube
September 3, 2010
Wiesbaden, Germany
Bowling Green

 Set List for September 3
Wiesbadener Kurier review & photo
Wiesbadener Kurier review & photo
Main-Netz review & photo
Frankfurter Rundschau article & photos
Main-Spitze review & photo
Morgenweb review
Bild review & photo
Thanks to Barbara for sharing
Wiesbadener Kurier review & photo
Thanks to Barbara for sharing
Youtube
September 5, 2010
Sankt Margarethen im
Burgenland, Austria
Römersteinbruch

 Set List for September 5
Die Presse review & photo
Zurnal24 article & photo
Youtube
September 8, 2010
Basel, Switzerland
St Jakobshalle

 Set List for September 8
Nachrichten review
Youtube
September 10, 2010
Lisboa, Portugal
Pavilhão Atlântico

 Set List for September 10
Correio da Manhã review & photo
Cotonete review & photo
TVI24 review & photos
Diario Digital review
Blitz review & photos
Correio da Manhã review & photo
Youtube




Previous
Gothenburg/Göteborg, Sweden
Odense, Denmark
Berlin, Germany
Gent, Belgium

Next
Ourense, Spain
Caen, France
Grenoble, France
Strasbourg, France
Marseille, France
Tours, France
Lille, France








Florence/Firenze, Italy

Set List - September 1, 2010

Per gallina on The Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
Born In Chains
Chelsea Hotel
Waiting For The Miracle
The Flood (recitation)
Anthem

Second Set

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

Encores

Famous Blue Raincoat
If It Be Your Will
First We Take Manhattan
I Tried to Leave You










Florence/Firenze, Italy

ENGLISH VERSION.

MUSICA / Leonard Cohen, il poeta incanta Firenze. In platea Al Pacino e Jovanotti

Diretta News - September 2, 2010 by Ansa

MUSICA LEONARD COHEN - FIRENZE, 2 SET – Il concerto perfetto non esiste, ma quello di Leonard Cohen questa sera in piazza Santa Croce è stata, forse, l’eccezione che conferma la regola. Oltre due ore di musica, vera, di emozioni, vere, per una serata di fine estate, quasi autunnale, che ha regalato calore e rinverdito ricordi. Davanti a circa 5000 persone, con la maestosa Basilica alle spalle e sotto lo sguardo vigile della statua del sommo, Dante Alighieri, il poeta e cantautore canadese ha ripercorso 40 anni della sua carriera, accompagnato da un’orchestra di 10 elementi. Molti i ‘vip’ in platea: Lorenzo Jovanotti («La canzone perfetta – ha detto – è Hallelujah di Cohen»), il sindaco di Firenze, Matteo Renzi, il ds della Fiorentina, Pantaleo Corvino. Poi a sorpresa, tra il pubblico, si è accomodato anche Al Pacino. “Dance me to the end of love” ha segnato l’inizio del concerto, unica data italiana del suo world tour 2010. Cohen, 76 anni, è salito sul palco elegantissimo e con l’immancabile cappello scuro, uno della dozzina che tiene, ordinatissimi, nel suo camerino. La sua voce, calda e cavernosa, da brividi, racconta sempre tutta la sua leggenda. Nella notte fiorentina le sue canzoni, le sue poesie, hanno coinvolto, quasi incoraggiato il pubblico, senza reclamare però nulla in cambio: da “Waiting for a miracle” a “The future”, da “In my secret life” a “Chelsea Hotel #2?, da “Thake this walz” a “Sisters of mercy”. Non sono ovviamente mancate “Suzanne”, “The Partisan”, “Hallelujah” dedicata a Santa Croce, “Bird on the wire”, “Im your man”, tra le più applaudite. La sua voce resta sempre un ‘rasoio arrugginitò, capace di tagliare l’animo di chi lo ascolta come un’incontaminata carezza. «Sono nato con il dono di una voce d’oro» canta in “Tower of songs”. Per raccontare l’arte di Leonard Cohen non basta certo ricordare che dal 1967 ad oggi ha venduto oltre 21 milioni di dischi in tutto il mondo: bisogna sapersi fermare e ascoltarlo. A Firenze, in queste settimane, c’era grande attesa per quello che è stato giustamente definito l’evento dell’estate 2010. Il nuovo tour mondiale di Cohen segue l’uscita del doppio album Live in London, una testimonianza dal vivo del concerto tenuto a Londra nel 2008. Il concerto di stasera in piazza Santa Croce era inserito all’interno del festival fiorentino ‘Live On’, organizzato con il patrocinio del Comune di Firenze nell’ambito degli eventi dell’Estate fiorentina. Anche il concerto di stasera è stato un momento da ricordare della sua carriera, ma tutta la sua vita è stata ricca di istanti significativi. Dalla nascita a Montreal, nel 1934, a New York, dalla Grecia a Cuba e poi ancora New York, fino al 1993 quando decise di ritirarsi in un monastero buddista in California assumendo il nome di Jikan, ’silenziosò. Qui restò fino al ‘99 per un periodo di meditazione che di fatto, due anni dopo, sfociò nell’album ‘Ten New Songs’. In questi ultimi anni il suo ritorno all’attività live, in Canada come in Europa, è stato accolto con incredibile entusiasmo e da una lunga serie di sold-out. Lo scorso gennaio ha anche ricevuto il Grammy Award alla carriera e il suo nome è stato inserito nella Songwriters Hall of Fame.








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MUSIC / Leonard Cohen, the poet enchants Florence. Al Pacino in the stalls and Jovanotti

Diretta News - September 2, 2010 by Ansa

LEONARD COHEN MUSIC - FLORENCE, 2 SET - The perfect concert there, but that of Leonard Cohen this evening in Piazza Santa Croce was, perhaps, the exception that proves the rule. Over two hours of music, true emotions, true, for an evening of late summer, almost fall, which gave warmth and revived memories. Before some 5,000 people, with the majestic Basilica behind and under the watchful eye of the statue of the supreme, Dante Alighieri, the Canadian poet and songwriter has traced 40 years of his career, accompanied by an orchestra of 10 elements. Many 'celebrities' in the stalls: Lorenzo Jovanotti ("The perfect song - he said - is Cohen's Hallelujah), the mayor of Florence, Matteo Renzi, ds of Fiorentina, Pantaleo Corvino. Then surprise the audience, Al Pacino was also accommodated. "Dance Me to the End of Love" marked the beginning of the concert, the only Italian date of her 2010 world tour. Cohen, 76, took the stage with the ever elegant and dark hat, a dozen of the holding, tidy in his dressing room. Her voice, warm and cavernous, thrilling, always tells his whole legend. In Florence night his songs, his poetry, involving almost encouraged the public, without demanding anything in return, however, from "Waiting for a Miracle" to "The Future", from "In My Secret Life" to "Chelsea Hotel # 2 "from" this Take This Walz "to" Sisters of Mercy. " Are obviously missing "Suzanne," "The Partisan," "Hallelujah" dedicated to the Holy Cross, "Bird on the Wire," "I'm Your Man," among the most acclaimed. His voice is still a 'rusty razor, capable of cutting the soul of the listener as uncontaminated caress. "I was born with the gift of a golden voice" sings "Tower of songs." To tell the art of Leonard Cohen is certainly not enough to remember that since 1967 has sold over 21 million records around the world must know how to stop and listen. In Florence, in recent weeks, there was great anticipation for what was rightly described the event of summer 2010. The Cohen's world tour following the release of double album Live in London, a witness's live concert in London in 2008. The concert this evening in Piazza Santa Croce in Florence was inserted within the festival 'Live On', held under the auspices of the Municipality of Florence in Florence of Summer event. Even tonight's concert was a memorable moment of his career, but his whole life has been full of significant moments. From birth to Montreal in 1934 in New York from Greece to Cuba and then again in New York until 1993 when he decided to retire to a Buddhist monastery in California, taking the name Jikan, 'silent. Here he remained until '99 for a period of meditation in fact, two years later, resulted in the album 'Ten New Songs'. In recent years, his return to the activity live in Canada as in Europe, was greeted with incredible enthusiasm and a long series of sold-out. Last January he also received a Grammy Award for his career and his name was inducted into the Songwriters Hall of Fame.










Florence/Firenze, Italy

ENGLISH VERSION.

Leonard Cohen incanta il pubblico in piazza Santa Croce

La Nazione - September 2, 2010 by Ernesto De Pascale

Grande successo per l'esibizione del cantante canadese in piazza Santa Croce

Firenze, 1 settembre 2010 - Leonard Cohen ha un sorriso sornione che mantiene per larga parte di ogni concerto nei posti dove si sente a suo agio. Chiamando il pubblico “amico”, togliendosi il cappello per salutarlo e per ringraziare con molti mezzi inchini i suoi compagni di avventura. Sul palco si circonda di facce note, di musicisti legati a lui da motivi diversi a partire dal direttore musicale, il bassista Gordon Beck, con lui dal tour del 1980.Dal vivo, bastano le prime note per capire che Leonard e compagni fanno sul serio e che i dieci musicisti sul palco a sostenere le declamatorie poesie in musica del grande canadese non sono solo una qualsiasi band di accompagnamento.

I brani vecchi che abitualmente propone brillano subito di luce propria: da Bird on A Wire a The Future fino a I’m Your Man e a una versione di Suzanne totalmente spoglia da qualsiasi orpello. Con il fido e “impeccabile” ( così lo introduce Cohen) Neil Larsen all’Hammond a cucire le parti e il multistrumentista italo californiano Pino Soldo, Cohen si sente ben protetto nel commuovere un pubblico in totale adorazione.

Ogni parola detta è declamata, ogni testo scandito affinché le parole davvero arrivino al cuore delle persone. E lui con il cuore ci pare cantare: pieno di voglia, di mettersi alla prova, forte dell’aver riscoperto un gioco - il concerto dal vivo - di cui aveva perso forse anche i ricordi.

Il chitarrista Bob Metzeger, con il canadese dal 1988, è l’anima americana del gruppo mentre il batterista Rafael Gayol, dal Texas, aggiunge un senso di desolazione con i suoi sparsi tamburi. ”Ricordatemi come un uomo che ha speso la sua vita per la musica” canta in First We Take Manhattan e le parole prendono un significato profondo mentre fuori “il mondo è pieno di cose terribili”, dice, e ringrazia perché “essere ascoltati oggi è un privilegio”. “Ho fatto del mio meglio, e anche se tutto è andato male io mi presenterò al Signore della Canzone con niente altro sulle mie labbra se non Hallelujah”.

Ed Hallelujah è il brano che presenta a ogni occasione con una fila interminabile di bis, di affetto, di voglia di tornare a cantare da parte di un uomo i cui segreti non sapremo mai ma che per pochi mesi si è preso una vacanza dalla sua volontaria segregazione per andare nel mondo con le sue grandissime canzoni.






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Leonard Cohen enchants audiences in Piazza Santa Croce

La Nazione - September 2, 2010 by Ernesto De Pascale

Great success for the exhibition of Canadian singer in Piazza Santa Croce

Florence, September 1, 2010 - Leonard Cohen has a grin that lasts for a large part of each concert in the places where you feel at ease. Calling the public "friend", taking off his hat to greet and thank the many media bows his fellow adventurers. On the stage was surrounded by familiar faces of musicians associated with him on grounds different from musical director, bassist Gordon Beck, with him from the tour of 1980.Dal live enough to see the first hints that Leonard and his companions are seriously and that the ten musicians on stage to support the declamatory poems of the great Canadian music is not just any band accompaniment.

The old songs that usually offers its own light shine once: by Bird on a Wire at The Future of up to I'm Your Man and a version of Suzanne totally bare of any ornament. With the exposure and "impeccable" (as it introduces Cohen) Neil Larsen all'Hammond sewing parties and multi-instrumentalist Italian Californian Pine Soldo, Cohen feel well protected in moving an audience in total adoration.

Every word that is declaimed, chanted every text that the words really come to people's hearts. And he seems to us to sing with your heart: full of desire, to test, of having discovered a great game - live concert - which had lost perhaps the memories.

Guitarist Bob Metzeger with Canada since 1988, is the soul of the American group while drummer Rafael GAYOLE, Texas, adds a sense of desolation, with its sparse drums. "Remember as a man who has spent his life in music" sings First We Take Manhattan and the words take on a deeper meaning while outside "the world is full of terrible things," he says, and thanks for "being heard today is a privilege. " "I did my best, and even if everything went wrong I will present to the Lord of Song with nothing on my lips but Hallelujah."

And Hallelujah is the song at every opportunity that presents with an endless line of a, affection, desire to return to singing from a man whose secrets will never know but for a few months has taken a vacation from his voluntary segregation to go in the world with its huge songs.










Florence/Firenze, Italy

ENGLISH VERSION.

Leonard Cohen incanta Firenze come un avventuriero dell'anima

La Repubblica - September 1, 2010 by Gino Castaldo

Il concerto del 76enne cantautore canadese, con classici rivisitati e brani che conquistano sempre la platea. E anche un inedito, Lullaby

FIRENZE - Quando Leonard Cohen arriva in città, si porta dietro una nuvola di calore poetico e la modella con ruvidi cenni di voce per la delizia del pubblico. Più che un concerto, una lectio magistralis sull'arte della canzone, una pacata riconciliazione con la bellezza oscura del vivere. E dire che da buddista, nei suoi lunghi anni di ritiro in monastero, ha adottato il nome di Jikan (il silenzioso).

Ma ora parla, o meglio canta, con quella dizione precisa e densa che lo ha reso un monumento vivente della canzone popolare, come un campione di eleganza versificatrice, e continua a incantare, letteralmente, le platee di tutto il mondo, compresa quella di Piazza Santa Croce, per l'unica data italiana di quest'anno, ultimo trionfale concerto del festival Live On, splendido luogo per definizione, esattamente un anno dopo aver già stregato piazza San Marco a Venezia.

La notte è serena, complice, affettuosa, di umore primaverile, perfetta per questo signore di 76 anni che esce sul palco come un galante seduttore, vestito di scuro, come in obbligatorio segno di rispetto per i demoni della notte, e si toglie il cappello con lieve e dignitoso inchino del capo per rispondere agli applausi. Firenze lo accoglie da città del mondo, nel senso che il pubblico, cioè quelli che hanno comprato il biglietto (a riempire le quasi cinquemila sedie che riempiono la piazza) sono moltissimi stranieri, venuti espressamente, con sommo gaudio delle strutture turistiche, e anche gli italiani presenti provengono in larga parte da altre città.

La musica prende il volo con nitore, pulizia, forbita e funzionale sostanza. Cohen snocciola canzoni, a cominciare come fa sempre da Dance me to the end of love, stendendo la platea con colpi da novanta come The future, Bird on the wire, Chelsea hotel #2, struggente dedica a Janis Joplin ("ti ricordo bene al Chelsea hotel, eri famosa il tuo cuore era leggenda. Dicesti un'altra volta di preferire uomini belli, ma che per me avresti fatto un'eccezione"), e poi ovviamente Suzanne, I'm your man, So long Marianne, che se non fossero cantate con tale sobrietà sarebbero piccole deflagrazioni poetiche, e infatti Hallelujah, quando l'ha rivista Jeff Buckley l'ha trasformata in una visione celestiale di inaudita potenza.

Pezzo dopo pezzo la piazza diventa un tempio a cielo aperto dove si onora la poesia. Come si creasse un'isola, privilegiata ed esclusiva, un cerchio magico, con tutto il resto del mondo ad aspettare fuori. L'unicità di Cohen è quella di sembrare un avventuriero dell'anima, un consumato bohemien ma addestrato alla scuola zen, ogni frase sembra una freccia puntata al centro delle cose, alla fine un vecchio allievo di cose divine che riesce a trasformare le sue quotidiane epifanie in melodie avvincenti.

Gli arrangiamenti spargono sentori di locali fumosi, di isole greche (dove ha passato molto del suo tempo), chitarre come mandolini o come distillati di blues e sassofoni che cesellano note, coriste perfette, musicisti che eseguono senza alcuna fretta, e senza spasimi, un dolce rito di accompagnamento. Regala al pubblico anche un pezzo nuovo di zecca, intitolato Lullaby, anticipo di un disco di inediti che, si dice, stia facendo, dopo tanti anni. Alcuni pezzi li dilata, la musica si sospende come se dovesse non finire mai, la sua voce si staglia su tutto con quel timbro che ha fatto epoca, è ferma e lucida, portatrice di sapienza e di antica saggezza. A metà concerto canta Waiting for a miracle, aspettando un miracolo, ma qui nessuno ha dubbi sul fatto che il miracolo si sia rinnovato, ancora una volta.






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Leonard Cohen charms Florence as an adventurer soul

La Repubblica - September 1, 2010 by Gino Castaldo

The concert 76enne Canadian singer-songwriter, with songs and classics revisited always win the audience. And a novel, Lullaby

FLORENCE - When Leonard Cohen arrives in town, goes behind a cloud of poetic warmth and the model with rough outline of voice to the delight of the audience. More than a concert, a lectio magistralis art of song, a peaceful reconciliation with the dark beauty of life. And to think that Buddhist, in his long years of retirement in a monastery, took the name Jikan (the quiet).

But now he speaks, or rather sings, with the dense and precise diction that made him a living monument of folk song as a sample of elegance versified, and continues to enchant, literally, audiences around the world, including the Piazza Holy Cross, the only Italian date of this year, the festival's final triumphant concert Live On, a wonderful place, by definition, exactly one year after already enchanted Piazza San Marco in Venice.

The night is serene, accomplice, affectionate, spring mood, perfect for this gentleman of 76 years coming out on stage like a gallant seducer, a dark suit, as required in a sign of respect to the demons of the night, and takes off his hat with mild and dignified bow of the head to respond to applause. Florence welcomes him to cities around the world in the sense that the public, ie those who bought the ticket (to fill nearly five chairs that fill the square) are many foreigners who had come expressly with the greatest joy of tourist facilities, and also Italians present comes in large part from other cities.

The music takes flight with neatness, cleanliness, polished and functional substance. Cohen reels off songs, beginning as always with Dance Me to the End of Love, stretching the audience with hits by ninety as The Future, Bird on the wire, Chelsea Hotel # 2, poignant dedication to Janis Joplin ("I remember the Chelsea Hotel, you were known your heart was a legend. again You said preferred handsome men but for me you'd make an exception "), and of course Suzanne, I'm Your Man, So Long Marianne, that if were not sung with such sobriety were small explosions poetic, and indeed Hallelujah, Jeff Buckley magazine when he has transformed into a celestial vision of unprecedented power.

Piece by piece, the square becomes an open-air temple where honors poetry. As an island was created, a privileged and exclusive, a magic circle, with the rest of the world to wait outside. The uniqueness of Cohen is to look like an adventurer of the soul, a consummate bohemian but trained in the Zen school, every sentence seems an arrow pointing at the heart of things, at the end of an old student of divine things that can transform her daily epiphanies in engaging melodies.

The arrangements scatter hints of smoky rooms, of the Greek islands (where he spent much of his time), guitar or mandolin as distillates and blues saxophone notes that chisel, perfect singers and musicians who perform without haste and without pangs, a rite sweet note. Give the public a brand new piece, entitled Lullaby, ahead of a disc of unreleased which is said to be doing, after all these years. Some pieces dilates, the music pauses as if to never end, his voice stands out with that stamp on everything that has made history, is firm and glossy, the bearer of wisdom and ancient wisdom. In mid-concert singing Waiting for a miracle, waiting for a miracle, but nobody here has any doubt that the miracle is renewed again.










Florence/Firenze, Italy

ENGLISH VERSION.

La semplice ricetta della grande musica

Terra News - September 3, 2010 by Michele Manzotti

CREATIVITA'. Leonard Cohen incanta il pubblico di piazza Santa Croce a Firenze. Cinquemila spettatori hanno applaudito l’unica esibizione nel nostro paese del cantautore canadese.

Quando ha intonato “Hallelujah” un’intera piazza ha ascoltato ogni singola nota in un silenzio assoluto. Quando ha preso la chitarra per accompagnarsi in “Suzanne” un’ovazione ha sottolineato le prime battute. Infine quando ha salutato con il suo cappello gli oltre cinquemila spettatori che erano venuti in piazza Santa Croce a Firenze, per l’unica data italiana, Leonard Cohen si è sentito a casa.

Davanti a una delle basiliche più note del mondo, ha rotto ogni indugio e si messo subito a comunicare con la gente. Non parlando tra un brano e l’altro, ma semplicemente regalando la sua arte. La sua voce infatti è ancora bella calda, sicura nel registro basso, Accanto a sé ha un gruppo di musicisti eccezionali, che salgono sul palco con lui ormai da molti anni. A partire dal bassista e direttore musicale Tom Beck, per continuare con il fido e “impeccabile” (così lo introduce Cohen) Neil Larsen all’Hammond a cucire le parti e al multistrumentista italo californiano Pino Soldo.

Il chitarrista Bob Metzeger, con il cantautore canadese dal 1988, è l’anima americana del gruppo mentre il batterista Rafael Gayol, dal Texas, aggiunge un senso di ordine e quasi dedizione alla causa. Forse il periodo di silenzio che ha caratterizzato la carriera di Leonard Cohen ha giovato al mantenimento di una forma invidiabile se a 73 anni continua a esibirsi. E a dare l’impressione che la serata non dovesse mai finire (5 bis in programma).

E' stata “Dance me to the end of love” ad aprire un concerto che ha catturato subito la piazza, e già da “Bird on the Wire” il pubblico ha capito che Leonard Cohen faceva sul serio: interpretazioni pulite, che nascevano dal cuore. Proseguite con “Everybody Knows”, “In my Secret Life”, “Who by Fire” con “Anthem” che ha concluso una prima parte piena di poesia. Poi “Tower of Song” a riaprire lo spettacolo con lui che decide di suonare le tastiere e la chitarra e ritrovare una forma cantautorale più intima.

Arrivano al cuore “Sister of mercy”, “The Partisan” e dopo “Hallelujah”, “I’m Your Man” e “Take this Waltz” a far alzare l’intero pubblico in piedi. Senza fumo sul palco o effetti speciali, ma solo grazie a una voce solida, a un atteggiamento di grande affetto per chi lo è venuto ad ascoltare, salutato con un inchino e un cappello in mano. E soprattutto a tante belle canzoni, una ricetta semplice quanto efficace per conquistare fama e autorevolezza con la musica.






Translated by Google Translate

The simple recipe for great music

Terra News - September 3, 2010 by Michele Manzotti

CREATIVITY '. Leonard Cohen enchants audiences Piazza Santa Croce in Florence. Five thousand spectators cheered the only exhibition in Italy of the Canadian singer-songwriter.

When he sang "Hallelujah" whole square has heard every single note in absolute silence. When he took the guitar to accompany in "Suzanne" said ovation the first bars. Finally, when he greeted him with his hat over five thousand spectators who had come to Piazza Santa Croce in Florence, the only Italian date, Leonard Cohen has felt at home.

Front of one of the most famous basilicas in the world, has severed all delay and immediately set to communicate with people. Not talking between sets, but simply giving away his art. His voice is still pretty hot in fact, safe in the low register, Beside him was a group of exceptional musicians, rising on stage with him for many years. As bassist and musical director Roscoe Beck, to continue with the trust and "impeccable" (as it introduces Cohen) Neil Larsen all'Hammond sewing parties and multi-instrumentalist Italian Californian Dino Soldo.

Guitarist Bob Metzger with Canadian singer-songwriter from 1988, is the soul of the American group while drummer Rafael GAYOLE, Texas, adds a sense of order and beyond dedication to the cause. Perhaps the period of silence that has characterized the career of Leonard Cohen has helped to maintain an enviable shape if 73 years continues to perform. And to give the impression that the evening would never end (5a planned).

It 'was "Dance Me to the End of Love" to open a concert that has now captured the square, and already "Bird on the Wire," the public has realized that Leonard Cohen was serious: clean interpretations, which came from the heart . Continue with "Everybody Knows," "In My Secret Life," "Who by Fire" by "Anthem" which concluded the first part is full of poetry. Then "Tower of Song" to reopen the show with him deciding to play keyboards and guitar and find a form more intimate songwriting.

Get to the heart "Sister of Mercy," "The Partisan" and after "Hallelujah," "I'm Your Man" and "Take this Waltz" to raise the entire audience standing. Smokefree on stage or special effects, but only thanks to a strong voice, an attitude of deep affection for those who came to listen, greeted with a bow and a hat in his hand. And especially in the many beautiful songs, a simple but effective recipe for fame and gain credibility with the music.










Florence/Firenze, Italy

ENGLISH VERSION.

Il carisma e l'eleganza di Leonard Cohen incantano Firenze

Lo Schermo - September 4, 2010 by Paolo Ceragioli (Photo: Enrico Stefanelli)

FIRENZE, 04 settembre - FIRENZE - Lui è carismatico, elegante nel suo completo scuro, gli occhiali scuri e il cappello e persino in forma fisica (questo 76enne saltella all'ingresso e all'uscita dal palco, si inginocchia spesso per cantare e si rialza senza tentennamenti). Canta benissimo e chiaro, i musicisti sono bravissimi e le coriste pure. La scenografia è scarna (una tenda che assume un unico colore a fine brani) ma appropriata, l'atmosfera è carica di positività. Il resto lo fa la piazza. Ma deve esserci qualche difetto, a parte i soliti ritardatari e ci si mette d'impegno per trovarli. Tutto inutile, è tutto davvero perfetto.

Il via è amore, con "Dance me to the end of love", sapore mediterraneo tra Grecia e Yiddish, ma "The future" riporta alla durissima realtà ("ho visto il futuro ed è un massacro" è la chiave della visione, purtroppo profetica, del genio canadese, nel 1992. Poi, una dopo l'altra, capolavori assoluti, un giusto "greatest hits": Bird on the wire, Everybody knows, In my secret life, Who by fire, l'inedita (così come Lullaby) Born in chains, Famous blue raincoat, Chelsea hotel no.2, Waiting for a miracle e Anthem, sulla quale Leonard Cohen presenta la band e chiede venia per un piccolo break di una decina di minuti. In realtà saranno venti, ma dopo un'ora e un quarto di musica così, tutto si concede.

La scaletta è ormai collaudatissima, ma è sempre un piacere e una sorpresa ascoltare e riascoltare quelle canzoni, quei pezzi di vita ritagliati da un uomo che ne ha viste e passate parecchie, ma che non ha mai perso lucidità nel raccontarle.

E si riprende con "Tower of song", che Nick Cave stravolse con la sua oscura maestria, seguita da quella Suzanne (è lui stesso a suonare la chitarra acustica) che commuove e che rende omaggio, per noi, a Fabrizio De André che la tradusse e cantò. Sister of Mercy, Boogie street, Hallelujah (Jeff Buckley ne fece un'altra meraviglia), I'm your man e Take this waltz accompagnano la platea verso la fine del set con una infinita serie di emozioni forti.

Non è finita, c'è ancora la più grande hit da classifica di Cohen, First we take Manhattan e infine "I tried to leave you", per salutare e ringraziare la platea e Firenze, perché suonare in un posto simile è certamente emozionante. Ascoltare, però, lo è altrettanto. Provare per credere, davvero.








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The charisma and elegance of Leonard Cohen enchant Florence

Lo Schermo - September 4, 2010 by Paolo Ceragioli (Photo: Enrico Stefanelli)

FLORENCE, Sept. 4 - FLORENCE - He is charismatic, elegant in his dark suit, dark glasses and hat and even in physical form (this 76enne hopping at entry and exit from the stage, kneels often to sing and get up again without hesitation). Sings very well and clearly, the musicians and singers are very good as well. The setting is sparse (a tent that takes a single color at the end of songs) but appropriate, the atmosphere is full of positivity. The rest is done by the square. But there must be something wrong, apart from the usual laggards and you make the commitment to find them. Useless, everything is really perfect.

The way is love, "Dance Me to the End of Love"between Greece and Mediterranean flavor Yiddish, but 'The Future"shows the harsh reality (" I've seen the future and is a massacre "is the key to the vision, unfortunately prophetic genius of Canada, in 1992. Then, one after another, absolute masterpieces, just a "greatest hits" Bird on the Wire, Everybody Knows, In My Secret Life, Who by fire, the unpublished (as Lullaby) Born in chains, Famous Blue Raincoat, Chelsea Hotel No.2, Waiting For A Miracleee Anthem, on which Leonard Cohen presents the band and I apologize for a short break of ten minutes. In fact, twenty, but after an hour and a quarter of music so everything is allowed.

The lineup is now tried and tested, but it's always a pleasure and a surprise to hear and listen to those songs, those pieces of life cut from a man who has seen and passed several, but never lost lucidity in the story.

It resumes with "Tower of Song ", which Nick Cave stravolse with his dark master, followed by Suzanne (he is playing acoustic guitar) that moves and pays tribute to us, Fabrizio De André that translated and sang. Sister of Mercy, Boogie Street Hallelujah (Jeff Buckley made it another wonder), I'm Your Man and Take this waltz accompanying the audience towards the end of the set with an infinite number of strong emotions.

It is not over, there is still the biggest hit from ranking Cohen First We Take Manhattan and finally "I Tried to Leave You", to greet and thank the audience and Florence, because playing in a place like this is certainly exciting. Listening, however, it is equally important. Try it, really.










Wiesbaden, Germany

Set List - September 3, 2010

Per PeGu 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
The Darkness
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
Heart With No Companion










Wiesbaden, Germany

ENGLISH VERSION.

9.000 Zuhörer folgen gebannt Konzert von Leonard Cohen in Wiesba

Wiesbadener Kurier - September 3, 2010 by Anke Hollingshaus (Photo: wita / Uwe Stotz)

See newspaper clipping (Thanks to Barbara for providing)


Erst kommen seine Musiker, dann er: Im Laufschritt betritt Leonard Cohen die Bühne. Den schwarzen Hut tief ins Gesicht gezogen, auf den beiden Videoleinwänden, die rechts und links der Bühne auf dem Bowling Green installiert sind, sieht man jede seiner grauen Bartstoppeln. Er lächelt und schon hat er sie: Der Mann, der in 17 Tagen 76 Jahre alt wird, zieht vor dem Kurhaus mehr als 9.000 Zuhörer in seinen Bann.

„Wir versprechen Ihnen, heute Abend alles zu geben“, kündigt Leonard Cohen an. Und hält das Versprechen. Schon zur Pause nach anderthalb Stunden applaudieren viele ihm stehend. Wer vor dem Konzert das Publikum fragt, warum es hier ist, hört Geschichten wie diese: „Ich hatte damals einen Freund, der war ein solcher Cohen-Fan, den haben wir rauf und runter gehört. Oder diese: „Suzanne gehörte zu unserem Lebensgefühl wie sonst kaum ein Lied.“

Klar: Wir bewegen uns in Altersgruppen, die den Mann, der einem noch immer Schauer über den Rücken jagt, aus den 60er Jahren kennen. Jüngere, von Müttern oder Vätern ein bisschen überredet mitzukommen, kennen nur wenige der Cohen-Lieder, lassen sich aber auch einfangen von der Atmosphäre dieses Konzerts und von der Ausstrahlung dieses Mannes, der nach jedem Stück brav seinen Hut zieht und sich am Können seiner Kollegen auf der Bühne unglaublich erfreuen kann.

Ewiger Melancholiker

Freude: Ein Wort, das nicht jedem bei Leonard Cohen zu allererst einfällt. Der ewige Melancholiker, der traurige, andere auch traurig machende Sänger, hat sie am Freitagabend unübersehbar. Er freut sich auch an der Atmosphäre, darüber, „dass wir hier an einem solch schönen Ort zusammen sein können, bei soviel Chaos in der Welt.“

Um Punkt sieben Uhr startet Cohen mit „Dance me to the end of love“. Da hatten sich die meisten Zaungäste auf der Wilhelmstraße und die Geladenen beim Empfang von Hessen Lotto vor den Kurhaus-Kolonnaden schon ihre „Suzanne“-Erfahrungen erzählt und freuten sich mit den Veranstaltern über das ideale Konzert-Wetter. Dabei: Ex-Ministerpräsident Roland Koch, ZDF-Sportmann Rolf Töpperwien, Offenbacher-Kickers-Präsident Dieter Müller und OB Helmut Müller mit Sohn Leon, der vom Fast-Namensvetter Leonard noch nicht sooo viel gehört hat, aber tapfer mitgeht. Vielleicht hat auch er sich einfangen lassen von Leonard Cohen an diesem wunderschönen Abend auf dem Bowling Green.








Translated by Google Translate

9000 spellbound audience follow the concert of Leonard Cohen in Wiesbaden

Wiesbadener Kurier - September 3, 2010 by Anke Hollingshaus (Photo: wita / Uwe Stotz)

First comes his musicians, then: In a run enters Leonard Cohen on stage. The black hat pulled low over his face on the two video screens, the right and left of the stage are installed on the Bowling Green, you see each of his gray beard stubble. He smiles and now he has them: The man who is in 17 days, 76 years old, prefers the spa more than 9,000 listeners in its spell.

"We promise you, now give all evening," announced Leonard Cohen. And keep the promise. Even at the break after a half hours, many applaud him standing. Who asks the audience before the concert, why it is here, hear stories like these: "I then had a friend who was such a Cohen fan, whom we have heard up and down. Or this: "Suzanne was part of our life as usual hardly a song."

Clear: We are moving into age groups that the man who chases a still shiver down the spine, known from the 60s. go with younger, persuaded by mothers or fathers to know a little bit, just a few of Cohen songs, but can also capture the atmosphere of this concert and the charisma of this man that runs after every good piece of his hat, and on the ability of its colleagues can enjoy incredible on stage.

Perpetual melancholic

Joy: A word, not every think at first of Leonard Cohen. The perpetual melancholy, the sad, sad making other singers, she has overlooked on Friday evening. He is also looking forward to the atmosphere, about "that we be here together on such a beautiful place can, in as much chaos in the world."

At seven clock Cohen starts with "Dance Me to the end of love". Since most onlookers were on the William Street and told the guests at the reception of Hesse lottery before the Kurhaus colonnade had their "Suzanne" experiences and were pleased with the organizers of the concert-perfect weather. Where: Ex-Prime Minister Roland Koch, ZDF-Sport man Rolf Töpperwien, Offenbacher Kickers-President Dieter Müller and Mayor Helmut Müller with his son Leon, who has the almost-namesake Leonard is not sooo much, but bravely calling. Maybe he can be captured by Leonard Cohen on this beautiful evening on the bowling green.










Wiesbaden, Germany

ENGLISH VERSION.

Wiesbaden: Großer Leonard Cohen bietet Tausenden Unbeschreibliches

Wiesbadener Kurier - September 4, 2010 by Mara Braun (Photo: wita / Uwe Stotz)

Es ist beinahe elf Uhr, als Leonard Cohen die Bühne vor dem Kurhaus für eine erneute Zugabe betritt. „I tried to leave you, I don’t deny“, haucht der Altmeister der musikalischen Poesie mit kratziger Stimme ins Mikrofon (ich habe versucht, dich zu verlassen) – und die knapp Zehntausend, die ihn eben nicht gehen lassen wollen, lachen; sind beinahe selig, dass er noch immer da ist: Tänzelnden Schrittes zurückkehrt in den Kreis seiner Musiker. Er zieht den Hut, verneigt sich tief vor seinem Publikum und stimmt einen weiteren Song an – dieser tatsächlich sein letzter; doch nur für heute: „Until we meet again“, verabschiedet sich Cohen – bis wir uns wieder treffen. Während er endgültig von der Bühne geht, wird der Nachthimmel über der Kurstadt von einem Feuerwerk erhellt: Ein perfekter Moment – nicht der einzige an diesem Abend.

Es ist kurz nach sieben, als Leonard Cohen das Konzert mit „Dance me to the end of love“ eröffnet. Er wirkt beinahe selbstvergessen, wie er sich so mit gesenktem Blick, die Hände stets nah vor seinem Gesicht, rückwärts zur Musik über die Bühne bewegt. Auf zwei großen Bildschirmen wird jede Bewegung des 75-Jährigen übertragen, der sein Publikum als „dear friends“ anspricht – liebe Freunde – sich aufrichtig bedankt, für das herzliche Willkommen, und mit jedem Wort, jeder Bewegung große Bescheidenheit ausstrahlt.

Magischen Ausstrahlung

Hinterm Nassauer Hof geht langsam die Sonne unter, am Himmel zeigen sich Farbspiele, wie sie nur in diesen wenigen Tagen zwischen Sommerende und Herbstanfang vorkommen. Rosa und orange hängen die Wolken wie süße Berge von Zuckerwatte über dem Bowling Green, Cohen singt „Bird on the wire“ – und just in diesem Moment kreisen unter lautem Geschrei Vögel über dem Park: Als fühlte sich nicht nur jedes zaghaft schlagende Herz im Publikum angesprochen von den Liedern des kanadischen Poeten, seiner magischen Ausstrahlung, sondern jedes Wesen, das atmet und lebt.

„Who by fire“, singt Cohen, „who by sunshine, who by nighttime“, während der Tag langsam in die Nacht übergeht und seine Stimme auf dem Klang einer Harfe durch die Reihen schwebt. Es sind exzellente Musiker, mit denen der singende Dichter auf Tour ist – darunter Sharon Robinson, die etliche Songs mit ihm geschrieben hat. Kurz vor der Pause, zu den hymnischen Klängen von „Anthem“, stellt er sie dem Publikum vor, teilt den Applaus – doch was wirkt wie ein Konzertende ist zum Glück erst die Halbzeit.

Ein großer Künstler – ein unvergesslicher Abend

Ein Abend wie dieser sei ein seltenes Ereignis, während die Welt immer weiter im Chaos versinke, philosophiert der Liedermacher, der sich immer wieder für die „freundliche Aufmerksamkeit für unsere Songs“ bedankt. Zum zweiten Teil kehrt er mit Sonnebrille auf die vom Dunkel umgebene Bühne zurück, eröffnet mit der persönlichen Ballade „Tower of song“ und erntet jubelnden Applaus für die Textzeile, „I was born with the gift of a golden voice“ (ich wurde mit dem Geschenk einer goldenen Stimme geboren).

Längst spielt es keine Rolle mehr, wie nah oder fern der Bühne man sitzt, weil alles erfüllt ist von seiner Musik, den zarten Weisheiten dieses klugen Poeten. Und als Cohen schließlich mit ruhiger, klarer Stimme, auf den Knien, sein unbeschreibliches „Hallelujah“ anstimmt, da ist es, als rücke die ganze Stadt unter seiner Musik zusammen: Ein großer Künstler – und ein wahrhaft unvergesslicher Konzertabend.








Translated by Google Translate

Wiesbaden: Big Leonard Cohen offers thousands indescribable

Wiesbadener Kurier - September 4, 2010 by Mara Braun (Photo: wita / Uwe Stotz)

It is nearly eleven clock, as Leonard Cohen enters the stage in front of the spa for a new addition. "I tried to leave you, I do not deny," breathes the doyen of the musical poetry with a scratchy voice into the microphone (I tried to leave you) - and the nearly ten thousand, which he just does not want to let go, laugh; are almost happy that he is still there: Prancing step back into the circle of his musicians. He pulls his hat, bowed deeply to his audience and does another song to - this really be the last, but only for today: "Until we meet again," Cohen said goodbye - until we meet again. While he is finally off the stage, the night sky above the spa town of fireworks will be lit: A perfect moment - not the only one that evening.

It's just after seven, as Leonard Cohen opened the concert with "Dance Me to the end of love". He seems almost oblivious, as he so with eyes downcast, her hands always moved close to his face, back to the music on the stage. On two large screens, each movement of the 75-year-olds will be transferred, which appeals to his audience as "dear friends" - dear friends - is sincerely thanked for the warm welcome broadcasting, and with every word, every movement of great modesty.

Magnetic personality

Behind the Nassauer Hof slowly, the sun, the sky show color variations, which occur only in those few days between the end of summer and early autumn. Pink and orange hanging clouds like sweet mounds of cotton candy on the Bowling Green, Cohen sings "Bird on the wire" - and just at that moment orbit amid loud cries birds on the park: When not only every timid beating heart felt in the audience addressed by the songs of Canadian poets, his magnetic personality, but every creature that breathes and lives.

"Who by fire," Cohen sings, "who by sunshine, who by night time" as the day passes slowly into the night and hangs his voice on the sound of a harp through the ranks. There are excellent musicians with whom the poet is singing on tour - including Sharon Robinson, who has written several songs with him. Shortly before the break, to the anthemic sounds of "Anthem", he presents them to the public, inform the applause - but what seems like an end of the concert is fortunately only the half.

A great artist - an unforgettable evening

An evening like this was a rare event, while the world is sinking further and further into chaos philosophizing, the songwriter, who repeatedly thanked for the "kind attention to our songs." The second part, he returns with his sunglasses back on the darkness surrounded stage, opens with the personal ballad "Tower of Song" and reaps jubilant applause for the line of text, "I was born with the gift of a golden voice" (I was with the gift of a golden voice born.)

Long ago it does not matter how close or far from the stage, you sit, because everything is full of his music, the gentle wisdom of this clever poet. And when Cohen finally calm, clear voice, on his knees, his indescribable "Hallelujah" strikes up, there it is, in focusing the whole town together with his music: a great artist - and a truly unforgettable concert evening.










Wiesbaden, Germany

ENGLISH VERSION.

Der Zauber des einmaligen Augenblicks

Main-Netz - September 6, 2010 by Wolfgang Dreikorn (Photo: dpa)

Konzert: Leonard Cohen mit Band im Wiesbadener Bowling Green -Fröhlicher Sänger schwermütiger Lieder

Wiesbaden. Was hat dieser alte Mann nur für eine Kondition! Mehr als drei Stunden steht Leonard Cohen schon auf der Bühne des Bowling Green vor dem Wiesbadener Kurhaus - und noch immer scheint er keine Lust zu haben, diese Plattform hoch über seinen 9800 Fans zu verlassen. Zugabe um Zugabe lässt sich der 75-jährige Kanadier abklatschen, als könne er sich selbst kaum losreißen vom Zauber dieses einmaligen Augenblicks.

Es ist eines jener seltenen Glücksgefühle im lauten Konzertbetrieb: Die räumliche Distanz zwischen dem Poeten aus Montreal und seinen Zuhörern löst sich auf in eine traute Zweisamkeit, die wohlige Melancholie seiner einmaligen Stimme fesselt. Wenn dann noch ein lauer Spätsommerabend und die bei Konzertbeginn untergehende Sonne dazu kommen, schmelzen selbst die Hartgesottensten widerstandslos dahin und wollen ganz einfach nur in diesem Wohlklang versinken.

Das Konzert vom Freitagabend macht es offensichtlich: Es gibt zwei Leonard Cohens. Auf der einen Seite steht der düstere Poet, der - etwa in »The Future« - ein Schreckensszenario des Kommenden entwirft. Auf der anderen Seite erfreuen wir uns an dem lebensfrohen Musiker und Sänger, der sich bei seinen Minidramen ein Hintertürchen offenlässt - wenn alles zusammenbricht, kann durch die Risse wenigstens das Licht scheinen (aus »Anthem«) - und auf der Bühne am liebsten die ganze Welt umarmen möchte. Show oder ehrlich gemeint: Immer wieder geht Cohen vor seinem Publikum scheinbar demütig auf die Knie und zieht den Hut. Auch für solche Gesten lieben ihn die Fans.

Sportlich wie ein Junger joggt der drahtige Mittsiebziger zu Beginn seines Konzerts auf die Bühne. Kaum hat der Mann im eleganten Dreiteiler, dem Hütchen und dem Schlips mit der silbernen Spange mit Kreuz, Herz und Anker seinen Arbeitsplatz erreicht, brandet der erste Beifall auf, der fortan nicht mehr abebben wird.

Mögen auch viele der Cohen-Songs schwermütig klingen: Im Konzert präsentiert sich ein fröhlicher Sänger, der mit sich und der Welt im Reinen ist. Der im »Tower Of Song« mit einem Augenzwinkern davon erzählt, in seinem Leben gar keine Wahl gehabt zu haben: Er sei nun mal mit dem Geschenk einer goldenen Stimme geboren.

So macht er das, was er in »The Anthem« den Vögeln andichtet: An jedem Tagesanbruch vergisst er das Gewesene und stimmt von Neuem die bekannten Lieder an. Das Gewesene, das soll bei Cohen eine Managerin gewesen sein, die angeblich mit seinem ganzen Geld durchgebrannt ist. Fast ist man geneigt, dieser Frau dankbar zu sein, dass sie ihn mit ihrem kriminellen Tun aus Zwecken seiner Altersversorgung wieder auf die Bühne zurückgebracht hat. Eigentlich, so hieß es, habe sich der Sänger in den 1990er Jahren in ein buddhistisches Kloster in den kalifornischen Bergen zurückgezogen, um Zen-Mönch zu werden. 15 Jahre war er damals auf keiner Bühne mehr zu sehen.

Inzwischen tourt er wieder fleißig und soll auch noch im September eine neue CD veröffentlichen. Einen Vorgeschmack bieten Songs wie »The Darkness« oder das böse »Feels So Good«, das die Vorzüge des Alleinseins preist: Es sei schön, am Morgen von alleine aufzuwachen und sich keine Gedanken machen zu müssen, wen »sie« berührt und küsst.

Leonard Cohens Stimme hat im Laufe der Jahrzehnte noch an Intensität gewonnen: In ihm lodert ein Feuer, dessen Flammen durch den Druck des Alters nicht kleiner geworden sind. Im Konzert schüren seine exzellenten Begleitmusiker kräftig mit - allen voran Javier Mas, der von Flamenco über orientalischen Klängen, Jazz und Blues immer wieder vorführt, welch herrliches Instrument eine spanische Konzertgitarre ist. Ob Roscoe Beck am Bass, Rafael Bernardo Gayol am Schlagzeug, Neil Larsen an den Keyboards, Bob Metzger an diversen Gitarren oder der vielseitige Dino Soldo an Windinstrumenten, Mundharmonika und Keyboard: Das Sextett an den Instrumenten lässt Cohen vielschichtiger klingen. Gemeinsam scheinen sie Altbekanntes wie »Bird On The Wire«, »Suzanne«, »Chelsea Hotel« oder seinen einzigen wirklich großen Hit »First We Take Manhattan« neu zu erfinden, ohne diesen Songs ihre Magie zu nehmen. Puristen mögen bemängeln, dass dabei zu viel Außenrum ist. Dem Konzert tut das aber nur gut.

Mehr als nur Begleitsängerinnen sind Sharon Robinson und das Folk-Duo Charley und Hattie Webb: Robinson hat bereits bei Cohens bislang letzter Studio-CD »Ten New Songs« mitgeschrieben und -gesungen. Die Webb-Schwestern haben nicht nur schöne Stimmen - sie können auch hervorragend mit Gitarre und Mini-Harfe umgehen.








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The magic of the unique moment

Main-Netz - September 6, 2010 by Wolfgang Dreikorn (Photo: dpa)

Concert: Leonard Cohen with a band at the Wiesbaden Bowling Green-Happy singers melancholy songs

Wiesbaden?. What has this old man just for one condition! More than three hours a Leonard Cohen on stage of the Bowling Green in front of the Kurhaus Wiesbaden - and he still seems to have no desire, high above his fans to 9800 left this platform. Addition to the addition can be the 75-year-old Canadian parry, as if he could hardly tear himself from the spell of this unique moment.

It is one of those rare feelings of happiness in the concert business are: the physical distance between the poet from Montreal and his audience dissolves into a trust togetherness, the soothing melancholy captures his unique voice. If then a warm late summer evening and the setting sun at the concert come to melt even the toughest resistance there and simply want to sink only in that harmony.

The concert on Friday night makes it clear: There are two Leonard Cohen. On one side is the dark poet who - some designs in "The Future" - a horror scenario of the future. On the other hand, we take pleasure in the lively musicians and singers, which leaves open at its mini-dramas one loophole - to collapse if all I can through the cracks at least appear to be the light (from "Anthem") - and on the stage prefers the entire want to embrace the world. Show or being honest: Time and again, Cohen's seemingly humble before his audience on his knees and pulls his hat. Even for such gestures the fans love him.

Athletic as a young wiry the mid-seventies jogging at the start of his concert on the stage. No sooner has the man in the elegant three-piece suit, the hat and the tie with a silver brooch with cross, heart and anchor his work achieved, surging in the first applause, which is not now abate.

May sound many of the Cohen-melancholy songs: In concert, presented a gay singer, who is with himself and the world at peace. The in the "Tower of Song" with a wink which said to have had no choice in his life: He was now time with the gift of a golden voice was born.

So he does what he ascribes to "The Anthem" for the birds: Every dawn, he forgets what has been and strikes up once more the well-known songs. The past, which was said to be a manager at Cohen, which is supposedly blown with all his money. One is almost inclined to be grateful to this woman that she had brought back with him from their criminal activity for purposes of his retirement back on stage. Actually, it was said, had withdrawn the singer in the 1990s in a Buddhist monastery in the California mountains to Zen monk. 15 years he was then seen on stage any more.

Meanwhile, he is touring again and diligently to publish in September a new CD. Offer a taste of songs like "The Darkness" or the evil "Feels So Good," which extols the virtues of solitude: it was nice to wake up in the morning by itself and need not worry about whom she touched, "and kisses.

Leonard Cohen's voice has over the decades gained in intensity: In him burns a fire, the flames by the pressure of age have not become smaller. In concert stir vigorously with his excellent backing musicians - in particular Javier Mas, who demonstrates on oriental sounds of flamenco, jazz and blues and over again, what a beautiful instrument is a Spanish classical guitar. Whether Roscoe Beck on bass, Rafael Bernardo Gayol on drums, Neil Larsen on keyboards, Bob Metzger on various guitars and the versatile Dino Soldo on wind instruments, harmonica and keyboard: the sextet on the instruments can sound Cohen complex. Together, they seem well-known as reinventing "Bird On The Wire," "Suzanne," "Chelsea Hotel" and his only really big hit, "First We Take Manhattan" new, without taking these songs their magic. Purists may complain that it is too much Außenrum. The concert, but only does so well.

More than just backing singers are Sharon Robinson and the folk duo of Charley and Hattie Webb: Robinson has co-written with Cohen's already so far last studio CD "Ten New Songs" and sung. The Webb sisters not only have beautiful voices - they can also deal well with mini-guitar and harp.










Wiesbaden, Germany

ENGLISH VERSION.

Leonard Cohen und ein Diner in weiß

Frankfurter Rundschau - September 6, 2010 by Michael Bergius (Photo: Michael Schick)

Auf dem Bowling Green vor dem Kurhaus feiern mehrere Tausend Zuhörer Leonard Cohen - draußen zelebrieren Zaungäste ein Diner in Weiß.

Mag sein, dass es das Glas Champagner war, das zu viel kostete, vielleicht waren es auch die Karten: Vor dem Open-Air-Gelände des Bowling Green am Kurhaus haben sich jedenfalls etwa 50 Zaungäste versammelt, um auf ihre Weise am Konzert von Sängerlegende Leonard Cohen teilzuhaben.

„Was da drinnen das Glas kostet, dafür haben wir hier draußen ein ganze Flasche“, meint einer von den ganz in Weiß gekleideten Zuhörern, die an der Wilhelmstraße unter Platanen an weiß gedeckten Tischen tafeln – französischer Schaumwein inklusive, Direktimport aus Wissembourg im Elsass.

Die Tafelfreunde prosten sich zu und legen die mitgebrachten Speisen auf. Unter den Tellern aus weißem Porzellan glänzen silberne Platten. In Warmhalteboxen Schlemmereien, der Schaumwein in feinen Gläsern. Plastik ist verpönt – bis auf die weißen Stühle. Die kleine Tischmusik liefert Weltstar Leonard Cohen live und kostenlos. Versteckt zwar hinter Planen an hohen Gittern – doch der Schall kennt keine Grenzen, pflanzt sich fort, ist selbst noch auf dem Marktplatz zu hören. Am besten jedoch an der Wilhelmstraße, unter den Theaterkolonnaden und zwischen Nassauer Hof und Vier Jahreszeiten. Da gibt es dann auch Tausende von Mithörern, die nicht alle ihr Dabeisein so zelebrieren wie die Teilnehmer des „Diner blanc“.

Diese Idee entstand vor gut zwei Jahrzehnten in Paris. Mit einer aus den Fugen geratenen, festlichen Gartenparty in Weiß fing es dort 1988 an. Da die reichlich erschienenen Gäste nicht in den Garten passten, lagerte man damals kurzerhand das Fest in einen Park aus.

Und weil es so schön war, wollte man sich im nächsten Jahr wieder an einem öffentlichen Ort verabreden und ganz in Weiß speisen. Nach Wiesbaden schwappte das öffentliche Tafeln vor zwei Jahren über.

Die anderen Cohen-Fans, die weder Eintritt zahlen wollen (oder können) noch Stilbewusstsein in Weiß demonstrieren, sitzen auf Decken oder auf dem Asphalt, tanzen mit, summen mit oder lauschen versonnen den altbekannten Melodien. Oder tafeln schlicht: auf Picknickdecken ausgebreitet, auf Campingstühlen, mit dem Essen in Plastikdosen und Getränken in Plastikbechern. Die Polizei fährt mit einem Elektroroller lautlos zwischen Käse und Rotwein, zwischen Sushi und Champagner Streife und meldet „keine besonderen Vorkommnisse“.

Beim nächsten Open Air auf dem Bowling Green 2011 sind die Teilnehmer des Diner blanc wieder dabei. Allerdings rätseln sie noch, ob Peter Maffay genauso gut zu Kerzenschein und weißen Damastdecken passt wie Leonard Cohen.

















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Leonard Cohen and a dinner in white

Frankfurter Rundschau - September 6, 2010 by Michael Bergius (Photo: Michael Schick)

On the Bowling Green in front of the Kurhaus celebrate several thousand listeners Leonard Cohen - celebrating onlookers outside a diner in white.

May be that glass of champagne was the one that a lot of cost, perhaps it was also the maps: the open-air site of the Bowling Green at the Kurhaus have advantages in any case about 50 onlookers gathered around in their own way at the concert by singer legend Leonard Cohen to participate.

"What's in there does the glass, but we have out here a whole bottle," says one of the all-white-dressed audience, the panels at the William Street under the plane trees at white-clothed tables - French sparkling wine included, direct import from Wissembourg in Alsace.

The panel's friends toast to her and had brought food to the basket. Among the shining silver plates in white porcelain plates. In thermal box feasts, the sparkling wine in his glass. Plastic is frowned upon - to white on the chairs. The small table provides world music star Leonard Cohen live and for free. Although hides behind schedule on high bars - but the sound knows no boundaries, reproduces itself, is even listening to the marketplace. At best, however, at the William Street Theater under the colonnade between Nassauer Hof and Four Seasons. Since then, there are also thousands of listeners, to celebrate her being there as not all the participants of the "Diner blanc.

This idea was a good two decades in Paris. With a runaway, festive garden party in white, it started there in 1988. Since the abundant published score did not fit into the garden, they camped at that time the party abruptly from a park.

And because it was so beautiful, we wanted to arrange to meet again next year in a public place and eat all in white. After Wiesbaden swept the public boards about two years ago.

The other Cohen fans who do not want to pay admission (or can) still demonstrate a sense of style in white sitting, dancing on ceilings or on the asphalt, with, listening with hum or dreamily the old familiar melodies. Or dine simple: spread out on picnic blankets on camping chairs, with food in plastic containers and drinks in plastic cups. The police drive with an electric scooter silently between cheese and red wine, sushi and champagne between patrol and report "no special incidents".

The next Open Air on the Bowling Green in 2011 the participants of the Diner blanc are here again. However, they still puzzled as to whether Peter Maffay fits just as well with candlelight and white damask like Leonard Cohen.










Wiesbaden, Germany

ENGLISH VERSION.

Ein Meister zieht den Hut

Main-Spitze - September 8, 2010 by Viola Bolduan (Photo: wita/Stotz)

LEONARD COHEN Dreistündiges Konzert des Songpoeten auf dem Bowling Green

Everybody knows - er singt seit fünf Jahrzehnten von Sehnsucht nach Liebe und ihrer Brüchigkeit, so rezitativ wie tief. Everybody knows . . . how Leonard Cohen goes. Und dann überrascht der kanadische Musikerpoet die vielen Tausend am Freitagabend auf dem Bowling Green dann doch - in der Distinguiertheit seines Auftritts, den Variationen in der musikalischen Aufbereitung der alten Ohrwürmer und dem formvollendeten Habitus eines Gentleman von nahezu 76, der keinen Augenblick in seinem mehr als dreistündigen Konzert nachlässt, Respekt zu bekunden. Gegenüber seinen Begleitmusikern und dem weiblichen Chor, gegenüber seinem Publikum und der Gelegenheit, in die Knie zu gehen vor der Aussagekraft von Text und Musik. Deshalb trägt Leonard Cohen Hut. Er will ihn ziehen.

16 Uhr: Klänge der Tonprobe erfüllen das Kurviertel.

18 Uhr: Eine Stadt sucht nach Park- und Sitzplätzen.

18.45 Uhr: Das Bowling Green ist dicht gefüllt und zwar von einem Publikum aller Generationen, vom Kind bis zum Ex-Ministerpräsidenten.

19.05 Uhr: Ein kleiner, schmaler, blasser Herr im Anzug, mit Lederkrawatte, Fedorahut und Zweitagebart steht auf der Bühne vorm Kurhaus. Leonard Cohen.

22 Uhr: „Hallelujah“ - die vielfach gecoverte Hymne will einen Schlusspunkt setzen.

22.45 Uhr: Jetzt erst ist der lange Zugabenabschied beendet. „Good night, my friends“. Leonard Cohen zieht seinen Hut zum letzten Mal.

Zwischen „Dance me to the end of love“ und „I tried to leave you“ hat er ein Repertoire aus den ganz alten elegischen Songs der 60er Jahre bis zu den aktuell bissigeren vorgelegt, und sein Programm klug strukturiert. Die eingängigen Erfolge rund um „Suzanne“ kommen erst nach der Pause, die reflektiven Poeme („Bird on the Wire“) immer im Wechsel mit Liebesleid auch auf flotterem Beat. Die Gebete trägt er rezitativ vor und kostet im Gesang eine ganze Grabestiefe im Bariton aus. Leonard Cohen klingt weicher, voller, wärmer denn je.

Gänsehaut-Gefühl

Die schnörkellose Konzentration und Intensität seiner Performance überträgt sich sofort. Gänsehaut-Gefühl. Ein knapp 76-Jähriger zeigt, was Zeitlosigkeit bedeuten könnte. Gerade weil die Schwermut der Vergangenheit neu arrangiert ist, ihr Tempo zwar noch langsamer, der Raum aber für solistische Zwischenspiele seiner Top-Begleitgruppe größer. Stellvertretend für die sechs Musiker sei Javier Mas mit seiner zwölfsaitigen Gitarre genannt, und Sharon Robinson ist als Ko-Texterin und -komponistin mehr als Background unter den Drei im Chorus. Vor ihnen allen verbeugt sich Leonard Cohen tief und wir mit ihm.

Der Präzision und den Preziosen angemessen bleibt die Lightshow des Abends zurückhaltend und die Bildregie immer dicht auf the master‘s face. Er selbst hält die Augen geschlossen oder richtet den Blick nach unten. Bewegung ist sparsam. Ein seltener Hüpfer, ein noch selteneres Aufstrahlen im Gesicht. Er hat etwas mitzuteilen von den Gefährdungen, Vergeblichkeiten und Unstimmigkeiten des Lebens. Man höre ihm einfach nur zu.

„So much chaos in the world“, dass man dran zugrunde gehen könnte - gäbe es nicht auch die Suche und Sehnsucht nach einer Vereinigung von Körper und Geist, die dieser Lyriker so melodiös beschwört, dass man stattdessen lieber in seiner Musik aufgehen möchte.

Große Geste

Leonard Cohen weiß es. Und ist deshalb auch ein Meister des Understatements. Kleine Anflüge von Selbstironie, große Geste im Kniefall auf der Bühne. „I hope, you‘re satisfied“. Beeindruckt bestätigender Beifall.








Translated by Google Translate

A master of his hat

Main-Spitze - September 8, 2010 by Viola Bolduan (Photo: wita/Stotz)

LEONARD COHEN three-hour concert of the Song poets on the Bowling Green

Everybody knows - he has been singing for five decades of longing for love and its fragility, so far as recitative. Everybody knows. . . how Leonard Cohen goes. And then the Canadian Musikerpoet the many thousands of surprise on Friday evening, at the Bowling Green but - in the distinguished his performance, the variations in the musical preparation of the old tunes and the shapely habit of a gentleman of nearly 76, of no moment in his more than three-hour concert declines to express respect. to go opposite his accompanying musicians and the female chorus, to his audience and the opportunity to its knees before the significance of text and music. That is why its Leonard Cohen hat. He wants to pull it.

16 clock: Sounds of the clay sample meet the cure district.

18 Clock: A city looking for parking and seating.

18.45 Clock: The Bowling Green is densely filled and that of an audience of all generations, from children to ex-Prime Minister.

19.05 Clock: A small, thin, pale gentleman in a suit, with leather tie, and Fedorahut Zweitagebart on stage in front of the Kurhaus. Leonard Cohen.

22 clock: "Hallelujah" - the anthem gecoverte often wants to put a final point.

22.45 Clock: Only now is over the long farewell encore. "Good night, my friends." Leonard Cohen takes his hat for the last time

From "Dance Me to the End of Love" and "I tried to leave you" he has presented a repertoire from the very old elegiac songs of the 60s up to the currently biting, and his program wisely structured. The catchy successes around "Suzanne" come after the break, the reflective poems ("Bird on the Wire") are always suffering, love, alternating with some upbeat beat. The prayers he contends, recitative and costs in singing an entire depth of the grave baritone. Leonard Cohen sounds softer, fuller, warmer than ever.

Spine-tingling sensation

The sleek concentration and intensity of his performance carries over immediately. Spine-tingling feeling. A nearly 76-year-old shows, which could mean timelessness. Just because the melancholy of the past is re-arranged their pace, although more slowly, the room is greater but for solo interludes of his top advisory group. On behalf of the six musicians named Javier Mas was with his twelve string guitar, and Sharon Robinson, as co-lyricist and composer for more than three in the background among the chorus. Before them all, Leonard Cohen bows deeply and we with him.

The precision and the precious remains appropriate to the evening light show restraint and directed the picture always hot on the master's face. He keeps his eyes closed or gaze is directed downward. Movement is economic. A rare bounce, shine an even rarer in the face. He has to communicate something of the hazards, futility and inconsistencies of life. He was just listening to.

"So much chaos in the world" that we turn to perish might - were it not for the search and longing for a union of body and spirit, the poet evokes this so melodic that you instead prefer to go up in his music.

Flourish

Leonard Cohen knows it. And is therefore also a master of the understatement. Small touches of irony, big gesture in the kneeling on the stage. "I hope, you're satisfied". Impressed confirmatory applause.










Wiesbaden, Germany

ENGLISH VERSION.

Er hält die Welt fest umschlungen

Morgenweb - September 7, 2010 by Mannheimer Morgen

Pop: Leonard Cohen spielt vor über 9000 Zuschauern im Wiesbadener Kulturhaus und begeistert einmal mehr als großer Folk-Literat

"Ich weiß nicht, wann uns unsere Wege wieder zusammenbringen werden. Aber ich weiß, dass wir Euch, meine Freunde, alles geben werden, was wir haben." Leonard Cohen bringt die Problematik einer über 40 Jahre andauernden Karriere im Musikgeschäft gleich zu Beginn des Abends auf den Punkt. Vielleicht auch wohl wissend um die Tatsache, dass man sich nach den folgenden drei Konzertstunden nichts sehnlicher wünschen wird, als diesen alten Mann schnell wieder zu sehen.

Cohen ist ein Virtuose der Zeichen und Bilder, ein aufrechter Poet, der es grundsätzlich mag und sich im minimalen musikalischen Raum seine eigene Erzählwelt aufgebaut hat. Und er gibt an diesem Abend großzügig davon ab. Tief beginnt der Abend mit Cohens Aufforderung "Dance Me To The End Of Love", tief zwischen diesen Stimmbandvibrationen, die ihre Macht aus den Jahren schöpfen. Aus den Jahren, die ihm den Ruf des großen Melancholikers der Folkmusik eingebracht haben. Die Jahre, in denen er auch die Lederjacke gegen den Anzug getauscht und ganz nebenbei ein beachtliches Repertoire an musikalischen Verabschiedungen angesammelt hat, von denen an diesem Abend allerdings am Ende keine so recht darüber hinweg trösten möchte, dass eben alles einmal zu Ende gehen mag.

Zu bitterschön schwingen die Saiten der Bandurria bei "So Long Marianne", zu sehnsüchtig rauscht das Saxofon bei "Famous Blue Raincoat". Dicht und kraftvoll hält die neunköpfige Band den Klang, immer in präziser Einheit mit Cohens dunklem Timbre. Und wenn bei "Take This Waltz" an den Rändern des Wiesbadener Bowlinggreens die Paare sich im Dreivierteltakt drehen, wenn bei "Suzanne" jeder Sitznachbar mitwispert, wird einem einmal mehr klar, dass die kleinen Sätze des 75-Jährigen mehr vom Leben erzählen können, als so manch eng bedruckte Romanseite.

Leonard Cohens warmes Beben in der Stimme hält die Welt fest umschlungen und begegnet dem Leben höflich, wenn auch direkt. Dazu gehört der drohende Protest von Liedern wie "First We Take Manhattan", die Unterwerfung im hymnischen "Hallelujah" und die Erinnerung ans "Chelsea Hotel". Man mag es mittlerweile altersweise nennen und sein Werk im Fach der Legenden ablegen. Der große Folk-Literat ist jedenfalls immer noch da, um uns von all dem zu erzählen. Die knapp über 9000 Zuschauer vor dem Wiesbadener Kurhaus danken es ihm zum Abschied mit langanhaltendem Stehbeifall. Und einem festen Platz in ihrer Erinnerung. Im ersten Rang natürlich.






Translated by Google Translate

He holds the world embraced tightly

Morgenweb - September 7, 2010 by Mannheimer Morgen

Pop: Leonard Cohen plays in front of 9000 spectators in the Wiesbaden community center and even more excited as a great folk-literary

"I do not know when we will bring our way again. But I know that we are you, my friends, will give everything what we have." Leonard Cohen takes the issue over a 40 year career in the music business right at the beginning of the evening to the point. Perhaps knowing the fact that you will wish for the next three hours concert nothing more than to see this old man quickly.

Cohen is a virtuoso of the characters and images, an honest poet, it might in principle and has built up in minimal music room with its own narrative world. And he gives generously to this evening on it. Deep begins the evening with Cohen's call "Dance Me To The End Of Love", deep between the vocal cord vibration, which draw their power from the years. For the years that gave him the reputation of the great melancholy of folk music introduced. The years in which he has exchanged the leather jacket against the suit, and accumulated along the way a remarkable repertoire of musical farewells, like which console this evening but in the end not quite hide the fact that just everything may come to an end.

To vibrate the strings of the bitter-Bandurria with "So Long Marianne", eagerly rushing to the saxophone on "Famous Blue Raincoat." Dense and powerful nine-member band keeps the sound, always in a precise unit with Cohen's dark timbre. And if in "Take This Waltz" at the edges of the Wiesbaden Bowling Greens, the couples in the three-quarter turn when in "Suzanne" mitwispert every seat neighbor, is an even more clear that the small movements of the 75-year-olds be able to tell about life, than some closely-printed book page.

Leonard Cohen's warm trembling in his voice holds the world firmly embraced life and met the polite, albeit directly. These include the threat of protest songs like "First We Take Manhattan," the submission in the anthemic "Hallelujah" and the Memory of the "Chelsea Hotel". One may now call old way and place his work in the subject of legends. The great folk-writer is certainly still there, to tell us of all that. The just over 9,000 spectators at the Wiesbaden Kurhaus thank him farewell with prolonged Stehbeifall. And a firm place in their memory. In the first place of course.










Sankt Margarethen im Burgenland, Austria

Set List - September 5, 2010

Per tomsakic 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
The Darkness
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
Heart With No Companion










Sankt Margarethen im Burgenland, Austria

ENGLISH VERSION.

Lieder der Sehnsucht und des Trostes

Die Presse - September 6, 2010 by Samir H. Köck (Photo: APN (Kai-Uwe KNOTH))

Leonard Cohen lockte an diesem ziemlich kühlen Abend im Steinbruch St. Margarethen ins Labyrinth der Liebe. Es waren 28 Lieder, die unterschiedlichste Lesarten des Begehrens kommunizierten. Über drei Stunden lang.

Früher wähnte Leonard Cohen seine Kreativität in Gefahr, wenn er zu lange Zeit mit derselben Frau verbrachte. Es ist wohl auch die immer bedrohlicher werdende Peitsche der Sterblichkeit, die den amourös Unsteten nun schon länger an die Seite der Pianistin und Sängerin Sharon Robinson drückt. Sie blickte Cohen, der am 21.September 76 Jahre alt wird, während des mehr als dreistündigen Konzerts immer wieder besorgt an – etwa wenn er vor seinem famosen Gitarristen Javier Mas in die Knie ging oder ausgelassen hinter die Bühne hüpfte.

Cohen hat die Spannkraft eines unvergänglichen 50-Jährigen, und er nützt sie, um reichlich von seinem Œuvre zu geben. An diesem ziemlich kühlen Abend waren es 28 Lieder, die unterschiedlichste Lesarten des Begehrens kommunizierten; Lieder der Sehnsucht und des Trostes: „And I sing this for the captain, whose ship has not been built, for the mother in confusion, her cradle still unfilled.“ In Cohens Wertekatalog steht die Sehnsucht höher als ihre Erfüllung. Mystikerin Teresa von Ávila formulierte schon im 16. Jahrhundert: „Es werden mehr Tränen über erhörte Gebete vergossen als über nicht erhörte.“ Dieses Zitat könnte Cohen in seiner Jugend in Truman Capotes „Answered Prayers“ gelesen haben. Der kluge Verzicht, den Cohen immer wieder durch Rückzüge ins Kloster praktizierte, ist ihm genauso wichtig wie die jähe Rückkehr der Leidenschaften. „If you want a lover, I'll do anything you ask me to“ versprach er im klarinettenumseufzten „I'm Your Man“, dessen zarter Puls zu einem trunkenen Tänzchen zu verleiten schien.

Die Maske des alten Mannes

„I've been coming to this place of stone to feel your sympathy“, versicherte er dem Publikum und passte seinen Text auch an Unerfreulichkeiten an. Sang er früher „And if you want another kind of love, I'll wear a mask for you“, so hieß es diesmal ironisch „I'll wear an old man's mask for you“. Dabei fuhr er sich nachdenklich über die markanten Längsfalten seines Antlitzes.

Dass Cohen 2008 diese Tour begann, war primär einem finanziellen Engpass zu verdanken, den er auch ehrlich zugab. Doch inzwischen hat er Gefallen daran gefunden, durch seine alten Songs zu schlurfen. Die führen wie vergilbte Seiten eines Tagebuchs zurück in des feschen Lebemanns wilde Zeiten, als die Verheißungen zahlreich waren und die Verwirrungen tief. Das beseelt dargebrachte „Ain't No Cure For Love“ zeigte Cohens Talent zu emotionaler Verstiegenheit: „I need to see you naked, in your body and your thought; I've got you like a habit.“

Dezent von seiner famosen sechsköpfigen Band begleitet, führte Cohen in Bilder, die in die Popgeschichte eingegangen sind. Er seufzte sich zurück zur Fellatioszene im ungemachten Bett im Chelsea Hotel, fuhr noch einmal über den Riss im berühmten blauen Regenmantel. Unnötig zu sagen, dass seine singenden Damen an diesem Abend einen solchen trugen. Sharon Robinson, Ko-Autorin wesentlicher jüngerer Songs wie „In My Secret Life“ und „Everybody Knows“, beeindruckte mit dunklem Timbre; die äußerst einnehmenden britischen Webb Sisters attackierten die offenen Herzen mit folkiger Finesse. Andere Highlights: „Who By Fire“, „The Anthem“, „I Tried To Leave You“. Den vom launigen Meister immer wieder verschobenen Schlusspunkt bildete das seelendurchbohrende „Heart With No Companion“. Standing Ovations!








Translated by Google Translate

Songs of longing and of consolation

Die Presse - September 6, 2010 by Samir H. Köck (Photo: APN (Kai-Uwe KNOTH))

Leonard Cohen attracted to this rather cool evening in St. Margaret quarry into the labyrinth of love. There were 28 songs, the different readings of desire communicated. About three hours long.

Previously believed Leonard Cohen's creativity in danger if he spent too much time with the same woman. It is probably also becoming more menacing scourge of mortality, which expresses the amorous wanderers now longer on the side of the pianist and singer Sharon Robinson. She looked Cohen, who is on Sep 21, 76 years old, while more than three-hour concerto always anxious to - such as when he went before his famous guitar player Javier Mas in the knee or omitted hopped behind the stage.

Cohen has the clamping force an immortal 50-year-olds, and he benefits in order to give plenty of his oeuvre. At this rather cool evening, it was 28 songs that different readings of desire; communicated songs of longing and of consolation "And I sing this for the captain, whose ship has been built not, for the mother in confusion cradle, her still unfilled . In Cohen, the longing of values is higher than its fulfillment. Mystic Teresa of Avila put it back in the 16th Century: "There are more tears shed over answered prayers than not have heard." This quote could have read Cohen in his youth in Truman Capote's "Answered Prayers". The wise renunciation, the Coen again and again by a retreat to the monastery is practiced, it is as important as the sudden return of the passions. "If you want a lover, I'll do anything you ask me to," he promised in klarinettenumseufzten "I'm Your Man," whose gentle pulse to induce a drunken little dance seemed.

The mask of the old man

"I've been coming to this place of stone to feel your sympathy," he told the audience, adapting his text also to unpleasantness. Sang it before, "And if you want another kind of love, I'll wear a mask for you", it said this time ironically "I'll wear an old man's mask for you". He ran his hand thoughtfully over the prominent longitudinal folds of his face.

Cohen began a tour in 2008 that this was primarily due to a financial squeeze that he admitted honestly. But now he has taken a liking it to shuffle through his old songs. The lead as yellowed pages of a diary back in the dashing playboy wild days when the promises were numerous and deep confusion. The animated presentation, perceivable "Is not No Cure For Love" showed Cohen's talent for emotional extravagance: "I need to see you naked, in your body and your thought, I've got you like a habit."

Appealing from his famous six-piece band accompanied Cohen resulted in images that are reflected in the pop history. He sighed back to Fellatioszene unmade bed in the Chelsea Hotel drove again through the crack in the famous blue raincoat. Needless to say, that his singing ladies that evening wore one such. Sharon Robinson, co-author of significant recent songs like "In My Secret Life" and "Everybody Knows", impressed with a dark timbre, and the most engaging British attacked the Webb Sisters open heart with folky delicacy. Other highlights: "Who By Fire," "The Anthem", "I Tried To Leave You". The master of witty repeatedly postponed finale was the seelendurchbohrende "Heart With No Companion". Standing ovation!










Sankt Margarethen im Burgenland, Austria

ENGLISH VERSION.

Velika kraja, najvecji hiti

Zurnal24 - September 7, 2010 by Tina Bernik (Photo: Marko Šeruga)

V Avstriji smo prisluhnili delu koncerta glasbene legende in clanom njegove ekipe, ki o Cohenu govorijo le v superlativih.

“V medijih se je veliko pisalo, da je Leonard moral na turnejo zaradi financnega stanja. To je delno res, saj mu je menedžer ukradel vse življenjske prihranke, a mislim, da bi šel na turnejo v vsakem primeru, saj je bil po 14 letih pripravljen na vnovicno nastopanje,” je v s klobuki in plašci obdanem zaodrju nedeljskega koncerta Leonarda Cohena v avstrijskem Burgenlandu pojasnjeval glasbeni direktor turneje Roscoe Beck.

"Besede so to, kar šteje"

Beck, ki je Cohena spoznal med snemanjem albuma Recent Songs pred 31 leti, ko so bili njegovi koncerti “precej glasnejši”, in nato leta 1988 šel z njim še na turnejo I'm Your Man, skrbi za Cohenovo turnejo tudi zadnja tri leta. “Leonardu sem rekel, da je trajalo 30 let, da to naredimo prav. Najpomembneje je, da publika sliši njegov glas in vsako besedo, in temu smo posvetili pozornost, ker je pesnik in so besede to, kar šteje,” je opisal zdajšnjo turnejo 75-letne glasbene legende, ki je obiskovalce Križank podobnega avditorija Sankt Margarethen navdušil, še preden je odpel prvi verz skladbe Dance Me to the End of Love.

Stare pesmi, nov glas

Vitalni, in kot pravijo clani njegove ekipe, tudi izjemno skromni in v primerjavi s pesmimi presenetljivo duhoviti umetnik, ki ga na odru spremlja šest glasbenikov in tri pevke, je v štiriurnem nastopu s publiko delil svoje najvecje hite v vecinoma novih aranžmajih.

“Aranžmaji so v veliko primerih prirejeni za ta bend ali pa so se spremenili kljuci, ker se je spremenil Leonardov glas. Starejše pesmi, na primer Suzanne, so se znižale tudi za dva tona,” je pojasnil Beck, ki meni, da je intimnost Cohenovih nastopov mogoce zacutiti tudi na vecjih prizorišcih, torej takšnih, kakršna je Arena Stožice. Ali je res tako, lahko preverite 12. oktobra v Ljubljani.

V Tel Avivu smo igrali pred 55 tisoc ljudmi, v londonski areni O2 pred 20 tisoc ljudmi, pa vseeno so kritiki vseeno rekli, da je šov še vedno imel intimen obcutek. -- Roscoe Beck, glasbeni direktor Cohenove turneje o koncertih na vecjih prizorišcih.








Translated by Google Translate

Great place, the biggest rush

Zurnal24 - September 7, 2010 by Tina Bernik (Photo: Marko Šeruga)

In Austria we have listened to part of the concert music legends and members of his team, which speak only Cohen superlative.

"The media has widely publicized that Leonard had to go on tour because of his financial situation. This is partly true, because the manager stole all the life savings, but I think it would go on tour in any case, it was after 14 years is ready to re-act, "the hats and coats vs. floorboards surrounded Sunday's concert of Leonard Cohen in Austrian music director explained Burgenlandu tour Roscoe Beck.

"Words are what counts"

Beck, who met during the filming Cohen Recent Songs Album 31 years before when his concerts were "much louder" and then in 1988 went with him on tour I'm Your Man tour Cohenovo care for the last three years. "I said to Leonard, it took 30 years to do this right. Most importantly, the audience hears his voice and every word, and we focused on this, because the poet and the words to what is considered, 'current tour, he described the 75-year musical legends that visitors like auditorium St Križanke Margarethen inspired before the first verse is sung a song Dance me that the End of Love.

Old songs, new sound

Vital, and as they say members of his team and also very modest compared with the surprisingly witty songs artist on stage accompanied by six musicians and three singers up in four hours with an audience share of its biggest hits in most of the new arrangements.

"Arrangements are in many cases modified for this band or have to change the keys, because Leonardo's voice has changed. Older songs such as Suzanne, also fell to two tones, "said Beck, who believes that intimacy can feel Cohenovih performances at major venues and, therefore, such as it Stožice Arena. Is it really so, you can check the 12th October in Ljubljana.

In Tel Aviv we were playing against 55 thousand people in London's O2 arena before 20 thousand people, however, critics say, however, that the show has always had an intimate feeling. -- Roscoe Beck, musical director on tour Cohenove concerts at major venues.










Basel, Switzerland

Set List - September 8, 2010

Per Suemerlyn 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
The Darkness
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
Heart With No Companion










Basel, Switzerland

ENGLISH VERSION.

Konzertbericht: «God bless you, sincerely Leonard Cohen»

Nachrichten - September 9, 2010 by Michelle Lachenmeier

Als die letzten Leute in die fast gefüllte St. Jakobshalle strömten und ihre Plätze einnahmen, betrat pünktlich um zwanzig Uhr Leonard Cohen gefolgt von in Schale geworfenen Musikern die erleuchtete Bühne. Leonard Cohen nahm seinen Hut und eröffnete das Konzert mit dem Satz: «I give you my Word that I’ll give all I have».

Es folgten Klassiker wie «Everybody Knows», «Suzanne» oder «Sister Of Mercy». Cohen wurde in seinen Performances von seiner hervorragenden Band mit aussergewöhnlichen Instrumenten (12-saitige Gitarre, Bandurria, Laute, Didgeridoo, Harfe, Mundharmonika etc.) und drei Backgroundsängerinnen unterstützt. Das Publikum zeigte sich gerührt und ausgelassen zugleich. Die tiefe Stimmlage von Leonard Cohen ging unter die Haut und verlieh dem Konzert eine andächtige Stimmung. Zu «See the white girls dancing» gab es eine kleine Showeinlage der Webb Sisters, die mit Akrobatik begeisterten. Auch Sharon Robinson (Co-Writer von «In My Secret Life») hatte mit dem Song «In The Boogie Street» ihren grossen Auftritt.

Liebevolle Worte

Als Leonard Cohen nach eineinhalb Stunden voller Hochachtung verneigend seine Band mit liebevollen Worten einzeln («The Irreplaceable Bob Metzger») vorstellte, dachten wohl mancher, dass sich der 76-Jährige mit dieser Gestik nun verabschiedet. Doch gönnte er sich nur eine kurze Pause und griff im zweiten Teil seiner Show selbst zur Gitarre.

Spätestens bei «Hallelujah» kam jeder Konzertbesucher auf seine Kosten. Doch Leonard Cohen war noch lange nicht am Ende seiner Darbietung. Bei «I'm Your Man» zeigte er auch seine humorvolle Seite und verschwand mit einer kurzen Tanzeinlage von der Bühne.

'Standing ovation'

Nach der ersten 'standing ovation' kam er mit «So Long Mary Ann» zurück und überliess den Webb Sisters die Bühne für ein zauberhaftes Duett mit der Harfe. Nach dem nicht nachlassenden Beifall sang Cohen «I Try To Leave You», was ihm aber nicht gelang. Bei »Take This Waltz« vermochte das Publikum nicht mehr still zu sitzen und strömte nach vorne zur Bühne. Erst kurz vor Mitternacht beendete er sein über dreistündiges Konzert mit «Closing Time» und den Worten «God bless you, sincerely Leonard Cohen». Er hat sein Wort definitiv gehalten und durch seine etwas altmodische, aber durchaus stilvolle Art nicht nur das ältere, sondern auch das überwiegend jüngere Publikum berührt.






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Concert Review: "God bless you, sincerely, Leonard Cohen»

Nachrichten - September 9, 2010 by Michelle Lachenmeier

When the last people in the nearly filled St. Jakob Halle streamed and took their places, entered on time for twenty clock Leonard Cohen, followed by musicians shell thrown into the lighted stage. Leonard Cohen took his hat and opened the concert with the sentence: "I give you my word that I'll give all I have."

This was followed by classics like "Everybody Knows," "Suzanne" or "Sister Of Mercy". Cohen was his performances from his excellent band with exceptional tools (12-string guitar, Bandurria, sounds, didgeridoo, harp, harmonica, etc.) and three backup singers support. The audience was touched and dropped at once. The deep voice of Leonard Cohen went under the skin and gave the concert a devotional mood. "See the white girls dancing" gave a little show it to insert the Webb Sisters, enthusiastic with the acrobatics. Even Sharon Robinson (co-writer of "In My Secret Life") had with the song "Boogie In The Street" their big show.

Loving words

As Leonard Cohen for one and a half hours of tape with respect bowing his loving words individually ("The Bob Metzger Irreplaceable") presented thought probably some that are 76-year-olds with this gesture now adopted the. Yet he allowed himself only a short break and attacked in the second part of his show himself to the guitar.

The latest on "Hallelujah" every audience came at his expense. But Leonard Cohen was not the end of his performance. In "I'm Your Man," he also showed his humorous side, and disappeared with a short dance routine from the stage.

'Standing ovation'

After the first 'standing ovation' he came with "So Long Marianne" and left the Webb Sisters set the stage for a charming duet with the harp. After the unrelenting applause Cohen sang, "I Tried To Leave You," which he failed. In "Take This Waltz," the audience was able to sit quietly and not more streamed forward to the stage. Shortly before midnight, he finished his three-hour concert on "Closing Time" and the words "God bless you, sincerely, Leonard Cohen." He has kept his word and definitely affect his somewhat old-fashioned but very stylish way not only the elderly but also the predominantly younger audience.










Lisboa, Portugal

Set List - September 10, 2010

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
The Darkness
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
Heart With No Companion










Lisboa, Portugal

ENGLISH VERSION.

Leonard Cohen embala oito mil

Correio da Manhã - September 11, 2010 by Sofia Canelas de Castro

Foi a terceira visita a Lisboa em apenas três anos, mas, entre repetentes e estreantes, o Pavilhão Atlântico esteve perto de encher ontem à noite para ouvir a voz inconfundível de Leonard Cohen.

O canadiano chegou às 21h15, quinze minutos após a hora marcada, de fato negro vestido e com o inconfundível chapéu, e, antes que pudesse começar a cantar, teve de aguardar alguns instantes pelo fim da grande ovação que ecoou pelo Atlântico, com a Plateia VIP toda de pé.

Prestes a completar 76 anos (que faz já no dia 21), Cohen não denuncia a idade e logo se ajoelhou em palco para cantar ‘Dance Me to the End of Love’. Num concerto que se previa irrepreensível, o que logo se confirmou, êxitos como ‘Ain’t No Cure for Love’, ‘Bird on a Whire’, ‘Everybody Knows’ e ‘In My Secret Life’ – este último acompanhado por um compasso de palmas oferecido pelo público – entusiasmaram a plateia.

Entre os cerca de oito mil presentes, destacava-se, maioritariamente, a faixa etária entre os 50 e os 60 anos, mas, ainda assim, a assistência atravessou gerações.

Menos comunicativo com a plateia do que é habitual, Cohen não deixou o seu cavalheirismo de lado, demonstrando-o entre temas cantados de joelhos e vénias para a assistência, em que tirava o chapéu para saudar o público. Como previsto, a noite fez-se de baladas poéticas e emotivas, ao som da voz grave e quente do canadiano e de uma banda irrepreensível na actuação. Canções que atravessam gerações sem perder actualidade e que desfilaram ao longo de três horas, que ainda iam a meio à hora de fecho desta edição.








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Leonard Cohen packs eight thousand

Correio da Manhã - September 11, 2010 by Sofia Canelas de Castro

It was the third visit to Lisbon in just three years, but between newcomers and repeaters, the Atlantic Pavilion came close to filling last night to hear the unmistakable voice of Leonard Cohen.

The Canadian arrived at 21.15, fifteen minutes after the appointed hour, dressed in black suit and hat with the unmistakable, and before he could start singing, had to wait a while to end the standing ovation that echoed across the Atlantic, with Stalls VIP all up.

For almost 76 years (which is already on 21), Cohen does not denounce the age and then knelt on stage to sing 'Dance Me to the End of Love'. In a concert that was expected blameless, which soon confirmed, hits like 'Is not No Cure for Love', 'Bird on a whir', 'Everybody Knows' and 'In My Secret Life' - the latter accompanied by a compass of applause offered by the public - excited the audience.

Among the approximately eight thousand present, stood out, mostly age between 50 and 60, but still crossed the assistance generations.

Less communicative with the audience than usual, Cohen did not leave his chivalry aside, showing him among themes sung to his knees and bows for the assistance, where he doffed his hat to greet the public. As predicted, the night became a poetic and emotional ballads, the sound of a deep voice and hot Canadian band and an impeccable acting. Songs that cross generations without becoming out of date and marched over three hours, which still were on their way to the closing hour of this issue.










Lisboa, Portugal

ENGLISH VERSION.

Leonard Cohen, o eterno jovem

Cotonete - September 11, 2010 by António Matos Silva

Uma figura esguia, cavalheiresca, outrora excessivamente errático, hoje todo ele sorrisos e com pinta de bom mafioso. Leonard Cohen já se sumiu depois de ter subido e caído de bem alto. Mas reergueu-se e revive-se através da sua música. A noite abriu sensual com 'Dance Me To The End Of Love', tingida a melodia latina. A voz cavernosa, mas quente, ressoou pelo recinto que ainda não tinha enchido, dando o mote para uma noite intensa.

As câmaras que projectavam o concerto em duas telas paralelas ao palco não se cansavam de focar o rosto de Leonard Cohen enquanto cantava: olhos semi-cerrados, boca entreaberta, fechado em si mesmo. Que lhe irá na cabeça? Talvez a visão apocalíptica que o levou a descrever um futuro cruelmente belo em 'The Future'. Ou Janis Joplin, a musa sexual por detrás da carnal 'Chelsea Hotel', uma canção despojada de amor. Ou as 'Sisters Of Mercy', duas irmãs com quem Cohen teve uma noite intensa. Nunca saberemos ao certo, mas pouco nos importamos ao ver Leonard Cohen cantar ajoelhado perante o público - uma bestial ironia da sua actual imagem - que já abraçara o clima de cumplicidade que o canadiano soube impôr.

A sua aura mística e postura enigmática aumentava de música para música. Perante a entrega de Cohen a cada verso tão seu, era fácil perceber que a sua vida foi feita música há já muito tempo. E é da sua vida que saem os seus talentosos companheiros de palco: das guitarras às vozes, passando pelo baixo, todos acompanham Cohen há mais de uma vintena de anos. Cúmplices, tal como o público, de um homem tão caloroso, que quer expurgar os seus pecados.

Apresentados os amigos de uma vida, é tempo para descansar. Não parece, mas Leonard Cohen já leva 75 anos: o ar jovial e o entrar e sair do palco aos saltos enganam. Ouviríamos de seguida o requinte do passar dos anos. A bela 'Bird On The Wire', a marcial e fria (mas emocionante) 'The Partisan' com o clímax entoado em francês e, claro, 'Suzanne'. Ah, essa mulher, inesgotável fonte de inspiração que Leonard Cohen canta uma e outra vez com o mesmo sentimento e vontade, mesmo que esta lhe tenha escapado.

Leonard Cohen é mestre sabido na arte de espalhar e cantar os seus sentimentos e comprovou-o uma vez mais mesmo que use a canção e a palavra como purga para o pecado. Mas a sua banda sabe criar o suporte ideal para isso mesmo e com créditos firmados ao longo da noite, Cohen agradeceu-lhe extensivamente e apresentou cada membro individualmente em três momentos distintos da noite.

Mas um dos momentos mais altos viria com 'Hallelujah', comprovadamente um dos mais belos e sublimes temas alguma vez compostos. O público acorreu à chamada com uma ovação em pé, a primeira da noite. E entre três encores em toada folk, ficam na retina 'First We Take Manhattan' e a irónica 'I'm Your Man', entusiasmantes e palpitantes como poucas. Ele dava tudo e a nós, público, já não faltava nada.

O Pavilhão Atlântico foi o mais recente cenário da vida-película de Leonard Cohen. Esgotado, este foi o palco das vidas do escritor e cantor, um homem que nasceu com o dom da transcendência. A sua vida dará um bom filme: intenso, dramático, em certas alturas impróprio para menores, mas que acaba sempre em bem. Leonard Cohen é a estrela, cheia de pinta, sublime como ninguém. Se esta for realmente a sua última digressão, sai em grande. Nós demos-lhe amor e ele também; à sua maneira.








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Leonard Cohen, the eternally young

Cotonete - September 11, 2010 by António Matos Silva

A slender, gentlemanly, once too erratic, now all smiles and he paints with good mobster. Leonard Cohen has already disappeared after having risen and fallen from up high. But it took off again and revive themselves through their music. The evening opened with sensual 'Dance Me To The End Of Love', Latin tinged melody. The cavernous voice, but hot, resounded through the area that had not yet filled, giving the tone for an intense night.

Cameras that projected the concert in two parallel screens on stage never tired to focus on his face as he sang the Leonard Cohen: half-closed eyes, open mouth, closed in itself. What will you head? Perhaps the apocalyptic vision that led him to describe a cruelly beautiful future in 'The Future'. Or Janis Joplin, the muse behind the sexual carnal 'Chelsea Hotel', a song devoid of love. Or the 'Sisters Of Mercy', two sisters with whom Cohen had an intense night. We will never know for sure, but we care little to see Leonard Cohen singing kneeling before the public - a brutal irony of your current image - which has embraced the climate of the Canadian complicity knew impose.

Its mystical aura and stance puzzling increased from song to song. Before the delivery to each of Cohen as his verse, it was easy to see that his life was music for a long time. And it is your life leaving his talented fellow stage: the voices of the guitars, going down by all accompanying Cohen for more than a score of years. Accomplices, such as the public, a man so hearty, that wants to purge their sins.

Presented the friends of a lifetime, it is time to rest. It does not appear, but Leonard Cohen already takes 75 years: the jovial and enter and exit the stage jumping tricks. Then hear from the refinement of the passing years. The beautiful 'Bird On The Wire', the martial and cold (but exciting) 'The Partisan' with the climax sung in French and, of course, 'Suzanne'. Ah, this woman, inexhaustible source of inspiration that Leonard Cohen sings again and again with the same feeling and will, even if it has escaped him.

Leonard Cohen is a master in the art known to spread and sing their feelings and proved it once more even if it uses the song and the word as to purge sin. But his band knows how to create the perfect support for that and signed with credits throughout the night, Cohen thanked him extensively and presented each member individually in three different moments of the night.

But one of the highest moments come with 'Hallelujah', arguably one of the most beautiful and sublime themes ever composed. The public rushed to call with a standing ovation, the first night. And among three encores in folk tune, are in the retina 'First We Take Manhattan' and the ironic "I'm Your Man ', exciting and throbbing as few. He gave everything and we, the audience, not lacking anything.

The Atlantic Pavilion was the latest scene of life-film Leonard Cohen. Exhausted, this was the scene of the lives of the writer and singer, a man born with the gift of transcendence. Your life will make a good movie: intense, dramatic, at times adult, but which always ends up well. Leonard Cohen is the star, full of paints, sublime as anyone. If this is really their last tour, get big. We gave him love and he also, in its way.










Lisboa, Portugal

ENGLISH VERSION.

Leonard Cohen brinda Lisboa com mais de três horas de música

TVI24 - September 11, 2010 by João Carneiro da Silva (Photo: Manuel de Almeida/LUSA)

Mais de três horas e meia de música até podem parecer pouco para uma vida inteira de canções. Mas foi o suficiente para Leonard Cohen deixar os fãs portugueses de barriga cheia depois de uma verdadeira maratona, no Pavilhão Atlântico, que percorreu os principais êxitos de uma discografia já com 43 anos.

No terceiro concerto consecutivo no nosso país, o cantor e compositor canadiano voltou a mostrar que velhos são os trapos. Perto de completar 76 anos de idade, Cohen não só tem fôlego que chegue para 29 temas numa só noite, mas também continua a seduzir gerações com uma voz calorosamente grave e rouca.

Dividido em duas partes, com um intervalo de 15 minutos pelo meio, o espectáculo desta sexta-feira foi conquistando de mansinho uma plateia que, na sua grande maioria, sabia ao que vinha.

Afinal, a sala estava bem composta de público de quase todas as idades pronto para ouvir da boca do próprio autor canções que durante anos foram sendo imortalizadas nas vozes de Nina Simone, Judy Collins, Jeff Buckley ou John Cale, entre muitos outros.

E assim foi, desde «Dance Me To The End of Love» até «Heart With No Companion», com passagens obrigatórias (e devidamente ovacionadas) por «I'm Your Man», «In My Secret Life», «Bird On A Wire» e «Hallelujah». Se Leonard Cohen esteve irrepreensível como cantador de histórias, a banda que o acompanhou não lhe ficou atrás - nove músicos exímios, alguns deles que acompanham o canadiano há várias décadas, como é o caso do baixista e director musical, Roscoe Beck.

Muito aplaudido foi também o espanhol Javier Mas, mestre do bandolim e da guitarra acústica de 12 cordas, peças essenciais na afinação precisa de uma máquina de palco que percorreu o mundo durante os últimos dois anos.

A poucos meses do final da tournée, este foi um espectáculo que serviu de despedida aos fãs portugueses e é impossível não pensar que tão cedo não voltaremos a ter a honra de receber em concerto uma autêntica lenda viva da música contemporânea.

Para os fieis seguidores de Leonard Cohen, as mais de três horas e meia de espectáculo foram o presente ideal para este adeus e ficarão certamente na memória por bastante tempo. Porém, os mais distraídos em relação à obra do cantautor não terão digerido tão facilmente uma actuação que ultrapassou largamente os limites convencionais de um concerto «normal».

Mas no final, já com uma moldura humana considerável bem à frente do palco (as cadeiras na plateia ficavam assim esquecidas por muitos), as reacções foram unânimes na hora de aplaudir o senhor de fato negro. Cohen tirou o chapéu um sem número de vezes, agradecendo a calorosa recepção de um público rendido ao charme e ao talento lírico do canadiano.

«Obrigado nós, senhor Cohen. Volte sempre.»










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Leonard Cohen Lisbon offers over three hours of music

TVI24 - September 11, 2010 by João Carneiro da Silva (Photo: Manuel de Almeida/LUSA)

More than three and a half hours of music may even seem a little for a lifetime of songs. But it was enough for Leonard Cohen fans leave Portugal on a full stomach after a marathon, in Atlantic Pavilion, which toured the major successes of a discography already 43 years.

In the third consecutive concert in our country, the Canadian singer-songwriter returned to show that old people are the rags. Close to completing 76 years of age, Cohen has not only breath that reaches to 29 subjects in one night, but also continues to seduce generations with a hoarse voice and a warm grave.

Divided into two parts, with an interval of 15 minutes in between, the show this Friday has been stealthily gaining an audience that the vast majority knew that the vineyard.

After all, the room was well-composed audience of almost all ages ready to hear from the author's own songs that for years have been immortalized in the voices of Nina Simone, Judy Collins, Jeff Buckley or John Cale, among many others.

And so, since "Dance Me to the End of Love" by "Heart With No Companion," with passages mandatory (and duly applauded) by 'I'm Your Man', 'In My Secret Life', 'Bird On A Wire 'and' Hallelujah '. If Leonard Cohen was as irrepressible singer of tales, the band that accompanied him was not back - nine skilled musicians, some of them accompanying the Canadian decades, such as bassist and musical director, Roscoe Beck.

Much applause was also the Spaniard Javier But, master of the mandolin and acoustic guitar, 12 strings, essential parts in a machine needs tuning stage that traveled the world during the past two years.

A few months after the end of the tour, this was a show that served as a farewell to the Portuguese fans and it is impossible not to think that soon we will not have the honor of hosting a concert in authentic living legend of contemporary music.

For the faithful followers of Leonard Cohen, more than three and a half hour show was the ideal gift for that bye and will certainly be in memory for a long time. However, the more distracted in relation to the work of the singer would not have so easily digested action that goes well beyond the conventional boundaries of a concert 'normal'.

But in the end, who has a considerable human frame and in front of the stage (the chairs in the audience were so forgotten by many), the reactions were unanimous in time to applaud the master of the black suit. Cohen took off his hat countless times, thanks to a warm welcome from the public yielded to the charm and lyrical of Canadian talent.

'Thank us, Mr. Cohen. Come back. "










Lisboa, Portugal

ENGLISH VERSION.

Leonard Cohen no Pavilhão Atlântico: O profeta intemporal

Diario Digital - September 11, 2010 by Marco Moutinho

Podendo ser a despedida definitiva de Leonard Cohen dos palcos portugueses, o concerto no Pavilhão Atlântico foi uma visita à sua longa carreira como cantor mas também como romancista, poeta, compositor, marido, pai e homem. Um concerto que soube tocar o âmago dos sentimentos e explorá-los de forma eloquente e perspicaz.

Por natureza, por carreira, por outro motivo não determinado, a voz misteriosa de Leonard Cohen é admirada, compreendida e vivida ano após ano, sem cansar como se de um profeta se tratasse. Este concerto, o terceiro no mesmo número de anos, foi constituído por duas partes mágicas, mas distintas, e três encores.

A primeira parte do concerto foi mais estática e melancólica. Leonard Cohen, ainda de poucos sorrisos, fez-nos meditar, lembrando os seus tempos de Budista. «Who By Fire» surpreendeu com um incrível instrumental de Javier Mas, dono de uma guitarra de doze cordas, e de uma mestria na utilização da mesma, arrepios e emoção que transpirava! Destaque ainda para «Chelsea Hotel» num arranjo bem desenhado, tornando o tema mais belo que o original. Leonard Cohen, senhor em todos os sentidos, tirava o chapéu no final de cada musical em agradecimento aos aplausos. No final da primeira metade do espectáculo, Cohen apresentou prolongadamente todos os músicos e fê-lo com imensa devoção e admiração fazendo recordar Eça de Queirós na sua tão célebre descrição do palácio Ramalhete n`«Os Maias».

Depois de um intervalo, uma segunda parte, mais dinâmica e festiva, na qual foram interpretados os maiores sucessos de um Cohen agora sorridente. «Hallelujah» e «I`m your Man», como esperado, foram recebidos em apoteose. Contudo, o tema «Boogie Street» destacou-se dos restantes, cantado pelas vozes sensuais e doces de Sharon Robinson e as sublimes Webb Sisters, um coro irrepreensível, com Cohen a cantar como segunda voz. Em Cohen, a paz perdura, subsiste ao tumulto das massas e tranquiliza-as. Demónios da juventude são aglutinados pela profundeza majestosa da sua voz, ré de uma sabedoria bucólica.

Os encores serão recordados pelos solos de Roscoe Beck, director musical da banda e baixista, o «pastor» da precisão Rafael Gayol, na bateria e percussão e ainda Neil Larson no fantástico teclado Hammond B3. Incompreendida a permanente e contínua entrada e saída de pessoas no Pavilhão Atlântico, reflexo talvez do hábito de concertos muito mais curtos.

Quase quatro horas de concerto, composto por um equilíbrio quase perfeito entre temas melancólicos e prazenteiros, pautados por discursos imponentes e arrepiantes e alimentados, por uma banda que se nota escolhida a dedo e uma equipa de som que está de parabéns. Já há muito tempo que o Pavilhão Atlântico não se fazia ouvir tão bem. Se o concerto podia ser melhor? Não, não podia! Normal em concertos deste músico que sussurra, há cerca de 40 anos, aos nossos ouvidos; «I`m Your man» com um espírito que revela ainda muito amor para dançar, como diz: «Dance Me to the End of Love».






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Leonard Cohen at the Atlantic Pavilion: Prophet timeless

Diario Digital - September 11, 2010 by Marco Moutinho

May be the final farewell to Leonard Cohen of the Portuguese stages, the concert at the Atlantic Pavilion was a visit to his long career as a singer but also as a novelist, poet, songwriter, husband, father and man. A concert that knew how to touch the core of feelings and explore them so eloquent and insightful.

By nature, a career, for no other reason given, the mysterious voice of Leonard Cohen is admired, understood and lived year after year, without tiring as if it were a prophet. This concert, the third in as many years, consisted of two parts magic, but distinct, and three encores.

The first part of the concert was more static and melancholy. Leonard Cohen, even a few smiles, has made us meditate, remembering his time as a Buddhist. "Who By Fire" struck with an incredible instrumental But Javier, owner of a twelve-string guitar, and a skill in using it, chills and excitement that transpired! Highlight is 'Chelsea Hotel' in a well designed layout, making the theme more beautiful than the original. Leonard Cohen, Lord in every way, took off his hat at the end of each musical in gratitude to applause. At the end of the first half of the show, Cohen showed prolonged all the musicians and did so with great devotion and admiration will remind Eca de Queiros so celebrated in his description of the palace Bouquet 'n' Mayans'.

After an interval, a second part, dynamic and festive, which were interpreted in the greatest hits of a Cohen now smiling. 'Hallelujah' and 'I `m Your Man', as expected, were received in apotheosis. However, the theme of "Boogie Street" stood out from the others, sung by the voices of sweet and sensual and the sublime Sharon Robinson Webb Sisters, an irrepressible chorus with Cohen's singing as a second voice. In Cohen, the peace lasts, there is the tumult of the masses and reassure them. Devils youth are bonded for the depth of his majestic voice, stern of a bucolic wisdom.

The encores will be remembered by Roscoe Beck solos, musical director and bassist of the band, the "shepherd" precision Rafael Gayol on drums and percussion and even Neil Larson on keyboards fantastic Hammond B3. Misunderstood the permanent and continuous entry and exit of people at the Atlantic Pavilion, perhaps reflecting the usual concert much shorter.

Almost four hours of concert, composed of a nearly perfect balance between melancholy themes and leisurely, guided by imposing and chilling speeches and fed by a band that note and a handpicked team of sound that is to be congratulated. For a long time that the Atlantic Pavilion did not hear so well. If the concert could be better? He could not! Normal in this concert musician who whispers, about 40 years, to our ears: "I` m Your Man "with a spirit that still shows much love to dance, as he says:" Dance Me to the End of Love ".










Lisboa, Portugal

ENGLISH VERSION.

Leonard Cohen no Pavilhão Atlântico, Lisboa

Blitz - September 11, 2010 by Lia Pereira (Photo: Ritz Carmo/Espanta Espiritos)

Cavalheiro das trevas voltou a Lisboa pelo terceiro ano consecutivo para nova "volta de honra". Três horas de música deliciaram Pavilhão Atlântico muito bem composto. Veja alinhamento

Concertos que acabam com ovações de pé há muitos. Já concertos que começam assim, não se veem tantos. Mas foi isso mesmo que aconteceu ontem à noite quando, depois da entrada dos músicos em palco, recebidos com aplausos educados, a plateia do Pavilhão Atlântico rejubilou com a terceira "aparição" em três anos de Leonard Cohen em Portugal. Cohen, não é demais recordá-lo, completa 76 anos ainda este mês, mas provou ser capaz de resistir a três horas de "jogo jogado" - o concerto começou às 21h15 e acabou perto da 01h00, com um intervalo de cerca de 20 minutos pelo meio. Mais de 40 anos após o primeiro disco - Songs of Leonard Cohen , de 1967 - o canadiano atraiu à maior sala de Lisboa um público diverso: distribuídos por bancadas e plateia sentada contavam-se não só os mais finos trajes e penteados, como alguns orgulhosos detentores de visuais indie, góticos ou metaleiros (não esquecer que é de Leonard Cohen a canção "Sisters of Mercy"), numa multidão cujas idades, a olho nu, diríamos quedar-se entre os 30 e os 60 anos.

Aos 76 anos, dizíamos, o criador de "Hallelujah" não tem dificuldade em ajoelhar-se durante várias canções nem em protagonizar saltitantes regressos ao palco, entre encores ou após momentos entregues às suas três belíssimas cantoras de apoio (Sharon Robinson, que já compôs e gravou com Cohen, e as maviosas Webb Sisters, donas igualmente de uma carreira autónoma e que, na reta final do concerto, acompanharam "If It Be Your Will", colheita Cohen de 1979, com harpa e guitarra). Mas, num primeiro embate, é a voz, e não a agilidade física ou o sorriso matreiro, que impressiona em Leonard Cohen. Na sua oitava década de vida, a voz de "Bird on a Wire" reveste-se de uma solenidade e gravidade a fazer lembrar as rugas e gravilha dos derradeiros anos de Johnny Cash. O seu barítono rastejante começa por servir "Dance Me To The End of Love" ("Já me estou a arrepiar", avisou uma espetadora atrás de nós), que desde logo serviu de apresentação aos arranjos que estas canções envergam em 2010. Porventura graças à presença na banda do espanhol Javier Mas, alguns dos temas soaram vagamente mais mediterrânicos (a Mas cabe tocar bandúrria, instrumento da família do bandolim, e guitarra de 12 cordas). A "pedal steel" de Bob Metzger encarregou-se de instalar a a folk no coração do espetáculo, ao passo que o saxofone de Dino Soldo nem sempre soou suficientemente distante de uns anos 80 menos subtis, e os teclados de Neils Larsen pintalgaram o conjunto com garrida tinta soul/gospel. Estas foram as linguagens mais faladas na primeira parte do concerto, uma viagem serena com pontos altos em "Ain't No Cure For Love", "Bird on a Wire", "Everybody Knows", "Chelsea Hotel #2" ou "Anthem", entregue à segura e aplaudida Sharon Robinson.

Trajando, como habitualmente, fato escuro e chapéu, Cohen pareceu, ao longo da primeira parte, mais convincente quanto mais próximo da sua imagem de "cavalheiro das trevas", envolto num certo ascetismo evidente em "Everybody Knows" ou "Who By Fire". Esta ideia saiu reforçada com a segunda metade do espetáculo, cujo poderoso trio de abertura passou por "Tower of Song" - misteriosa, a flutuar entre os sintetizadores manuseados pelo próprio Cohen - "Suzanne" e "Sisters of Mercy". Por muitos e merecidos elogios que o artista tenha tecido aos seus músicos, vê-lo cantar qualquer uma destas músicas praticamente sozinho, ou com a banda em estado dormente, é ficar com a impressão de que Cohen, a sua voz e a sua aura seriam suficientes para encher e maravilhar o Pavilhão Atlântico. Mesmo que esqueçamos tudo o que sabemos sobre a sua aplicada estada num mosteiro zen, a verdade é que, do rigor com que, muitas vezes de olhos fechados, se atira a cada sílaba e balbucia cada palavra emana uma quase religiosidade que hipnotiza os presentes.

Depois, claro, há os clássicos que Leonard Cohen ofereceu ao mundo e o mundo agradeceu, absorveu e retribuiu ontem à noite - de "Hallelujah", uma das canções com mais versões no planeta e que no Atlântico bateu o recorde de telemóveis acesos na plateia, a "I'm Your Man", com o nosso homem a tirar marotamente o chapéu (um de muitos truques simples mas de eficácia garantida), passando por "So Long, Marianne" (a loucura e a celebração possíveis, com o público já de pé) e "Famous Blue Raincoat", com a fatal assinatura sussurrada ("Sincerely, Leonard Cohen") a arrebatar corações numa noite de quentes afetos. À beira destes pequenos grandes êxtases, nos quais se contam ainda os sorrisos trocados por ídolo e fãs em "First We Take Manhattan", a despedida ao som de "I Tried To Leave You" e "Heart With No Companion" acabou por servir mais para acalmar do que para exaltar os ânimos. Ao mesmo tempo, ficou provado o que já suspeitávamos: esta pode ter sido a terceira "volta de honra" de Leonard Cohen em Portugal, mas ninguém como este cavalheiro para colher os louros com tanta elegância e dignidade.









  

  







  







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Leonard Cohen at the Atlantic Pavilion, Lisbon

Blitz - September 11, 2010 by Lia Pereira (Photo: Ritz Carmo/Espanta Espiritos)

Gentleman of the darkness came back to Lisbon for the third consecutive year for new "lap of honor." Three hours of music delighted Atlantic Pavilion very well composed. See alignment.

Concerts that end with standing ovations abound. Already concerts that start well, not many are seen. But that's exactly what happened last night when, after the entry of the musicians on stage, greeted with polite applause, the audience of the Atlantic Pavilion overjoyed with the third "appearance" in three years of Leonard Cohen in Portugal. Cohen, it is worth remembering it, celebrates 76 years this month, but proved to be able to withstand three hours of "playing game" - the concert started at 21.15 and ended close to 01:00, with an interval of about 20 minutes the middle. More than 40 years after the first album - Songs of Leonard Cohen, 1967 - The Canadian attracted the largest room in Lisbon a diverse audience: distributed by benches and seated audience counted not only the finest outfits and hairstyles, as some proud Holders of visual indie, gothic or metalheads (not forgetting that is Leonard Cohen song "Sisters of Mercy"), a crowd whose ages to the naked eye, we would say quedar is between 30 and 60 years.

At 76, we said, the creator of "Hallelujah" has no difficulty to kneel for several songs in playing or jumping returns to the stage between encores after moments or delivered to their three gorgeous female backing vocals (Sharon Robinson, who has written and recorded with Cohen and the Webb Sisters affectionate, also owners of an independent career and, in the final concert, accompanied "If It Be Your Will," Cohen harvest of 1979, with harp and guitar). But in a first encounter, is the voice, not the physical agility or the sly smile, impressing on Leonard Cohen. In his eighth decade of life, the voice of "Bird on a Wire" is of a gravity and solemnity reminiscent of the wrinkles and gravel last years of Johnny Cash. The Creeper gets his baritone to serve "Dance Me to the End of Love" ("I'm the creepy," warned a bystander behind us), which immediately formed the submission to such arrangements as these songs wear in 2010. Perhaps thanks to the presence in the band of Spanish Javier But some of the themes sounded more vaguely Mediterranean (But it is to play bandura instrument of the mandolin family, and 12-string guitar). The "pedal steel" Bob Metzger undertook to install aa folk in the heart of the show, while the saxophone Dino Soldo not always sounded far enough for some 80 years less subtle, and keyboards Neils Larsen spotted with all garrida ink soul / gospel. These were the languages most spoken in the first part of the concert, a serene journey with highlights in "Ain't No Cure For Love," "Bird on a Wire," "Everybody Knows," "Chelsea Hotel # 2" or "Anthem ", delivered to the safe and applauded Sharon Robinson.

Dressed as usual dark suit and hat, Cohen appeared along the first part, more convincing as closer to its image as a "gentleman of the darkness, wrapped in a certain asceticism evident in" Everybody Knows "or" Who By Fire " . This idea was strengthened with the second half of the show, whose powerful trio has opened for "Tower of Song" - mysterious, floating among the synthesizers handled by the Cohen - "Suzanne" and "Sisters of Mercy." For many and deserved praise that the artist has woven its musicians, seeing him sing any of these songs practically alone, or with the band in a dormant state, you get the impression that Cohen, his voice and his aura would be sufficient to fill and marvel the Atlantic Pavilion. Even if we forget everything we know about his enforced stay in a Zen monastery, the truth is that the rigor with which, often with eyes closed, lashes out at every syllable and mumbles every word that emanates a nearly religious hypnotizes those present.

Then of course there is the Leonard Cohen classic that offered the world and the world thanks, absorbed and returned yesterday evening - the "Hallelujah," one of the songs with more versions on the planet, and that the Atlantic holds the record for mobile phones lit in the audience, the "I'm Your Man" with our man to take his hat playfully (one of many simple but effective tricks guaranteed), to "So Long, Marianne" (madness and celebration possible, the public already foot) and "Famous Blue Raincoat" with the signature breathy fatal ("Sincerely, Leonard Cohen") to snatch a night of warm hearts affections. On the verge of great little ecstasies, in which there are still smiles exchanged by Idol fans and "First We Take Manhattan", the farewell to the tune of "I Tried To Leave You" and "Heart With No Companion" eventually serve more to soothe than to whip up sentiment. At the same time, proved what we suspected: this may have been the third "lap of honor" by Leonard Cohen in Portugal, but none like this gentleman to reap the rewards with such elegance and dignity.










Lisboa, Portugal

ENGLISH VERSION.

Flores para Leonard Cohen

Correio da Manhã - September 11, 2010 by Sofia Canelas de Castro

Quase quatro horas de concerto e um Pavilhão Atlântico rendido a Leonard Cohen. Foi assim na sexta-feira, com a plateia a deixar as cadeiras e a compor a frente do palco para, num final apoteótico, ovacionar, de pé, o músico.

Na primeira fila, Patrícia Pillar esperava para entregar um ramo de flores ao canadiano. A actriz brasileira (mulher do político Ciro Gomes) rendeu-se ao concerto irrepreensível, onde desfilaram hits como ‘Dance Me to End of Love’, ‘I’m Your Man’, ‘Take this Waltz’ e ‘Hallelujah’. Nota máxima para a qualidade e, apesar da duração excessiva, também para a quantidade: cerca de 30 canções deixaram oito mil de ‘barriga cheia’.








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Flowers for Leonard Cohen

Correio da Manhã - September 11, 2010 by Sofia Canelas de Castro

Almost four hours of concert and an Atlantic Pavilion surrendered to Leonard Cohen. It was well on Friday, with the audience to leave their chairs and make the front of the stage to, in the grand finale, acclaim, standing musician.

In the first row, Patrícia Pillar expected to deliver a bouquet of flowers to Canada. The Brazilian actress (wife of the politician Ciro Gomes) surrendered to the irrepressible concert, which paraded hits like "Dance Me to the End of Love ',' I'm Your Man ',' Take this Waltz 'and' Hallelujah '. Top marks for quality and, despite the excessive duration, also for the amount: about 30 songs left eight thousand of 'full stomach'.







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