2010 Fall Tour - Hannover, Germany; Dortmund, Germany; Stuttgart, Germany; Katowice, Poland; Moscow, Russia

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

September 27, 2010
Hannover, Germany
Arena

Set List for September 27
Die Kopfhoerer review
Youtube

September 29, 2010
Dortmund, Germany
Westfalenhalle

Set List for September 29
Der Westen review & photo
Youtube

October 1, 2010
Stuttgart, Germany
Schleyeralle

Set List for October 1
Südwest Presse review & photo
Esslinger Zeitung review & photo
Stuttgarter Zeitung review
Schwaebische Post review
Stuttgarter Nachrichten newsclipping
Stuttgarter Nachrichten review & photo
Youtube

October 4, 2010
Katowice, Poland
Spodek

Set List for October 4
Wiadomosci review & photo
Katowice Gazeta review & photos
Nasze Miasto review & photo
Wiadomosci24 review & photos
Youtube

October 7, 2010
Moscow, Russia
Kremlin Palace

Set List for October 7
I-Muz review & photo
Rossiyskaya Gazeta review & photos
RT review & photos
RT review
Youtube

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

Next
Warsaw, Poland
Ljubljana, Slovenia
Bratislava, Slovakia
Auckland, New Zealand
Wellington, New Zealand

Hannover, Germany

Set List - September 27, 2010

Per leonardo 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
Who By Fire
The Darkness
Born In Chains
Chelsea Hotel
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Avalanche
Sisters Of Mercy
Gypsy Wife
Feels So Good
The Partisan
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
Hey, That's No Way To Say Goodbye

Hannover, Germany

ENGLISH VERSION.

Leben, Liebe, Einsamkeit - Leonard Cohen in der Tui Arena Hannover

Die Kopfhoerer - September 28, 2010 by Julian

Dass Leonard Cohen mit 76 Jahren noch Musik macht, ist vor allem einem eher traurigen Umstand zu verdanken: Während er in einem Kloster meditierte, wurde sein Vermögen komplett veruntreut. Es folgen Alben und ausgedehnte Tourneen mit einer unvergesslichen Setliste. Auf der Bühne steht ein sichtlich entspannter Sänger, der von einer achtköpfigen Band verstärkt durch ein 3 ½ stündiges Programm führt. Dabei passiert er alle Stationen seiner Karriere. Sei es das unvermeidliche Suzanne, Sisters Of Mercy, Gypsys Wife, Avalanche, The Future oder zwei noch unveröffentlichten neue Songs. Doch jeder von ihnen klingt, als wäre er erst gestern geschrieben worden. Hier setzt sich Cohen ganz deutlich von anderen gealterten Musikern ab; die Stücke werden nicht bloß reproduziert sondern interpretiert und gelebt. Die Musiker erhalten viel Raum, um sich zu entfalten, sei es in einem orientalisch klingenden Zwölfseiterintro oder ausgiebigen Hammondpassagen. Selbst die Backgroundsängerinnen haben ihr eigenes Lied, das diese mit Harfe und Gitarre begleiten. Cohen versteht es, sein Publikum zu verzaubern. Mit einem geschätzten Stimmvolumen von einer Oktave betört er die Stadien dieser Welt und sein magischer Vortrag lässt seine Hörer fassungslos und glücklich zurück. Nach der dritten Zugabe ist wirklich jeder zufrieden und wenn Cohen juvenil von der Bühne hüpft merkt man, dass er im Herzen ein kleiner Junge geblieben ist. In seinen Liedern (die teils kniend vorgetragen werden) jedoch ist er betrübt, verzweifelt und dem Wahnsinn nahe - ihnen ist eine absolute Wahrheit inne. Doch am Ende des Abends ist eine ganze Arena entspannt, zufrieden und glücklich. Was darf man mehr erwarten?

Die Konzertmitschnitte Songs From The Road und Live In London 2009 sind als DVD, BluRay und CD bei Sony erschienen.

Translated by Google Translate

Life, love, loneliness - Leonard Cohen at the Tui Arena Hannover

Die Kopfhoerer - September 28, 2010 by Julian

The fact that Leonard Cohen with 76 years making music, is a rather sad fact mainly due to: while he was meditating in a monastery, his property was completely misappropriated. The following are albums and toured extensively with a memorable set list. On stage is a visibly relaxed singer, the eight-piece band from reinforced by a 3 ½-hour program takes a. He passed all stages of his career. Be it the inevitable Suzanne, Sisters Of Mercy, Gypsys Wife, Avalanche, The Future or two yet unreleased new songs. But each of them sounds like it would have been written only yesterday. Here Cohen is quite clearly from other musicians aged, and the pieces are not merely reproduced but interpreted and lived. The musicians received a lot of space to unfold, whether it be in a Middle Eastern-sounding intro or extensive Hammondpassagen Twelve pus. Even the background singers have their own song, with the harp and guitar to accompany it. Cohen knows how to captivate his audience. With an estimated volume of voice an octave, you will discover the stages of this world and his magical presentation by his listeners and happy back in bewilderment. After the third addition is really everyone is satisfied and if Cohen of the juvenile stage jumps you realize that he is still a little boy in the heart. In his songs (the knees are recited some), but he is sad, desperate and close to madness - is an absolute truth they hold. But at the end of the evening, Arena is a relaxed, contented and happy. What more can you expect?

The concert footage Songs From The Road and Live In London 2009 are on DVD, BluRay and CD on Sony released.

Dortmund, Germany

Set List - September 29, 2010

Per Mabeanie1 on The Leonard Cohen Forum

Dortmund, Germany

ENGLISH VERSION.

Ein bewegender Abend mit Leonard Cohen

Der Westen - September 30, 2010 by Christoph Giese (Photo: WR-Bild: Ralf Rottmann)

Dortmund. Leonard Cohen begeistert rund 6000 Fans in der Dortmunder Westfalenhalle. Was immer der Kanadier und seine exzellente, üppig besetzte Band an diesem langen Abend auch anstimmen: Es sitzt.

„Ich weiß nicht, wann wir wieder hier vorbei kommen", meint Leonard Cohen zum Publikum. „Aber heute Nacht geben wir alles." Was bei vielen Künstlern bloß eine Floskel ist, meint der Kanadier auch so. Weit über drei Stunden reine Konzertzeit und alle seine Hits von „Suzanne" bis „Hallelujah" schenkt er den gut 6.000 begeisterten Fans in der Westfalenhalle.

Es bleibt nur eine Antwort: Er liebt es.

Und man fragt sich so kurz vor Mitternacht, als der 76-Jährige immer noch auf der Bühne steht, warum er das macht. Es bleibt nur eine Antwort: Er liebt es.

Das jedenfalls ist in seinem wundervollen Konzert in jeder Minute zu spüren. Auch wenn Leonard Cohen kein Mann der großen Gesten und Gefühlsausbrüche ist. Ruhig steht er da, in seinem dunklen Anzug mit Hut, und sprechsingsangt mit seinem abgrundtiefen Bariton seine poetischen Texte.

Sarkastisch, zweideutig, melancholisch wie kaum ein zweiter kann Leonard Cohen sein. Abgehangenes und Unvergängliches, Folkiges und eher Poppiges - was immer Cohen, seine exzellente, üppig besetzte Band mit den zauberhaften Webb-Schwestern als Backgroundstimmen an diesem langen Abend auch anstimmen, es sitzt.

Am Schluss kokettiert Leonard Cohen mit der lautstark geäußerten Zuneigung seines Publikums. Und singt „I Tried To Leave You". Eigentlich ein Trennungssong. Aber Leonard Cohen münzt ihn einfach um auf das Konzertende. Und spielt weiter und noch ein Lied. Ein großer, ein bewegender Abend in Dortmund und vielleicht ja schon die letzte Gelegenheit, den Grandseigneur der Poplyrik noch einmal live erlebt zu haben.

Translated by Google Translate

A moving evening with Leonard Cohen

Der Westen - September 30, 2010 by Christoph Giese (Photo: WR-Bild: Ralf Rottmann)

Dortmund. Leonard Cohen attracted about 6000 fans in Dortmund's Westphalia Hall. What the Canadians and its excellent, richly occupied band on this long ago and always sing: it sits.

"I do not know when we come back here," says Leonard Cohen to the audience. "But tonight we give everything." As with many artists is just a phrase, the Canadian means it. Well over three hours of pure concert time and all of his hits "Suzanne" to "Hallelujah" he gives the more than 6,000 enthusiastic fans at the Westfalen Hall.

There is only one answer: He loves it.

And one wonders just before midnight when the 76-year-old is still on the stage, why he does it. There is only one answer: He loves it.

That is definitely felt in his wonderful concert at the minute. Even if Leonard Cohen is not a man of grand gestures and emotional outbursts. He calmly stands there in his dark suit and hat, and his bottomless baritone sprechsingsangt with his poetic lyrics.

Sarcastic, ambiguous, melancholy like no other can be Leonard Cohen. Hung and permanent, folky pop and rather hilly - whatever Cohen, sing his excellent and richly occupied band with the magical Webb sisters as background vocals on this long ago and it sits.

In the end, Leonard Cohen flirted with the loudly expressed affection of his audience. And sings "I Tried To Leave You". Actually a separate song. But Leonard Cohen mints him simply to end the concert. And continues to play and even a song. A large, an emotional evening in Dortmund, and maybe even the last opportunity to have witnessed the grand seigneur of Poplyrik again live.

Stuttgart, Germany

Set List - October 1, 2010

Per leonardo on The Leonard Cohen Forum

Stuttgart, Germany

ENGLISH VERSION.

Magischer Stehblues mit Leonard Cohen

Südwest Presse - October 4, 2010 by Udo Eberl (Photo: Udo Eberl)

Stuttgart. Weit mehr als drei Stunden begeisterten der Songwriter und Poet Leonard Cohen und seine Band 8500 Besucher in der Stuttgarter Schleyerhalle.

Er sang, kniete und euphorisierte: Leonard Cohen, seit mehr als 40 Jahren einer der großen Dichterfürsten der Popmusik, zauberte Musikmagie in die Tristesse der Mehrzweckhalle. Bereits mit "Dance me to the end of love", dem berührenden, doppelbödigen Holocaust-Longsong und Auftakt des mehr als dreistündigen Konzerts, setzte er Zeichen. Vor seinen Musikern und dem Publikum kniend bedankte sich der 76-Jährige für das Privileg, nun im großen Finale seiner Karriere die größten Hallen füllen zu können und beschenkte die Fans mit zeitloser Lyrik und einer musikalischen Schwerelosigkeit, die nur die ganz großen Künstler zu erzeugen vermögen.

"Ich verspreche euch, wir werden euch heute alles geben, was möglich ist", sagte der Mann mit dem Hut, dessen über die Jahrzehnte noch tiefer gewordene Stimme die Schleyerhalle derart überzeugend füllte, dass man selbst die anfänglich etwas zu glatten Arrangements respektvoll goutierte. Schließlich wurde auch "Bird on the wire", der etwas zu seifig dargebotene Mega-Hit, durch das furiose Gitarrensolo Bob Metzgers in die emotionale Ideal-Spur zurückgebracht. Szenenapplaus gabs für die exquisite Band sowieso jede Menge - ob für Multi-Bläser Dino Soldo, Hammond-Ass Neil Larsen, den Saitenartisten Javier Mas oder die himmlisch singenden Webb-Schwestern.

Mit dem denkwürdigen "Anthem" und der Sympathiekundgebung für die "Stuttgart 21"-Demonstranten gings in die Pause, und es folgte eine noch weit eindrucksvollere zweite Halbzeit. Der Meister am Keyboard im minimalistisch aufbereiteten "Tower of song", dann mit der Gitarre und "Suzanne" Gänsehaut erzeugend, später mit "Im your man" oder dem Klassiker "Hallelujah". Zeitlupen-Ästhetik, melancholische Songriesen voller Poesie, die kraftvoll strahlten, und all das in tontechnisch erstklassiger Qualität geboten - was für ein Abend. Der weise Grandseigneur zog dankend den Hut und tänzelte von der Bühne. Ein Konzert, ein Höhenflug, eine emotionale Entladung.

Translated by Google Translate

Magic Blues standing by Leonard Cohen

Südwest Presse - October 4, 2010 by Udo Eberl (Photo: Udo Eberl)

Stuttgart. Far more than three hours of passionate songwriter and poet Leonard Cohen and his band 8500 visitors in the Stuttgart Schleyer Halle.

He sang, knelt and euphoric: Leonard Cohen, for more than 40 years one of the great poet of pop music, conjured magic music in the bleakness of the multi-purpose hall. Even with "Dance Me To The End Of Love", the touching, ambiguous Holocaust-Long Song and kick-off of more than three-hour concert, he makes a mark. Prior to his musicians and the audience, kneeling in the 76-year-old thanked for the privilege of being able to now in the grand final of his career to fill the largest halls and gave the fans with timeless lyrics and a musical gravity, are able to produce only the very great artist.

"I promise you, we will give you today all that is possible," said the man with the hat, which over the decades deeper become voice of the Schleyer Halle filled so convincing that even the initially somewhat respectful to smooth arrangements critically acclaimed. Finally, it was also "Bird on the wire", the slightly soapy Helping to mega-hit, brought back by the furious guitar solo Bob Metzger in the ideal emotional track. Gabs applause for the band anyway lots of exquisite - whether for multi-Blaster Dino Soldo, Hammond ace Neil Larsen, the strings artists Javier Mas or the heavenly singing Webb sisters.

With the memorable "Anthem" and the demonstration of sympathy for the "Stuttgart 21" demonstrators went into the break, and there followed a far more impressive second half. The master at the keyboard in minimal processed "Tower of song", then with the guitar and "Suzanne" spine-chilling, later with "In Your Man" or the classic "Hallelujah". Slow-aesthetics and melancholic song giants of poetry, which shone strong, and offered sound at all in top quality - what a night. The wise grand gratefully pulled the hat and pranced off the stage. A concert, a flight of an emotional discharge.

Stuttgart, Germany

ENGLISH VERSION.

Bekenntnisse eines Poeten

Esslinger Zeitung - October 4, 2010 by Ole Detlefsen (Photo: Bulgrin)

Nachdenklicher Bohemian: Leonard Cohen gibt ein vielumjubeltes Konzert in der Stuttgarter Schleyerhalle

Stuttgart - Wollte man die Stimmung der Songs von Leonard Cohen einer Jahreszeit zuordnen, so käme wohl am ehesten der Herbst in Betracht. Die melancholische Schwere seiner Balladen erzeugt Bilder von Landschaften, über denen sich ein wolkenverhangener Himmel wölbt. Eine einsame Seele blickt gedankenverloren in die Weite, den Kragen des Jacketts hochgeschlagen, den Hut tief ins Gesicht gezogen. Ein wenig erinnert diese Traumfigur an Leonard Cohen, der am Bühnenrand der Schleyerhalle steht. Konzentriert, ganz bei sich, rezitiert er mit tiefer, monotoner Sangesstimme seine Poeme zu den düsteren Klängen, die ihm den Status des Depri-Barden einbrachten. Ja, der Poet ist selbst im Herbst des Lebens angekommen, vor wenigen Tagen feierte er seinen 76. Geburtstag.

Exzellenter Sound

Er hat ein bewegtes Leben hinter sich. Mit 22 Jahren veröffentlichte er seinen ersten Gedichtband, nur sieben Jahre später, 1963, wurde er mit seinem Roman „The favourite game" als literarische Hoffnung gefeiert. Der Kultstatus des frauen- und freiheitsliebenden Romanciers gefiel Cohen gut, doch er sah in der Vertonung seiner oftmals erotisch angehauchten Liebeslyrik die größere Zukunft. Dieses Gespür täuschte ihn nicht, denn er eroberte mit seiner Musik nicht nur die Plattenteller der Damenwelt. Den Stil des nachdenklichen Bohemians hat er beibehalten. Schlank ist er, der dunkle Anzug und der Borsalino, den er auf dem Kopf trägt, verleihen ihm die Würde des alternden Gentleman, der jedoch keine Spur von Gebrechlichkeit zeigt, sondern ein dreistündiges, in mehrfacher Hinsicht zutreffendes „Best of" abliefert. So wird bereits mit den ersten Tönen von „Dance Me To The End Of Love" in der Schleyerhalle eine neue Zeitrechnung eingeläutet. Selten war der Sound dort so klar, waren die Instrumente und der Gesang so exzellent abgemischt.

Neben den Könnern, die es verstehen, mit der Technik umzugehen, hat Cohen auch Ausnahmemusiker in seiner Crew, die gleichermaßen durch Solovariationen faszinieren als auch durch die perfekte Eingliederung ins Bandkollektiv. Die Virtuosität des Flamenco-Gitarristen Javier Mas und die Spielfreude des Multi-Instrumentalisten Dino Soldo werden von den 8500 Zuschauern immer wieder mit Szenenapplaus quittiert. Schlagzeuger Rafael Gayol und Bassist Roscoe Beck sorgen für eine unaufdringliche Rhythmik, geben ihren Mitspielern Neil Larsen am Keyboard und Bob Metzger an der Gitarre Raum. Durch das Zusammenwirken der Band und die ausgefeilten Arrangements bekommen die im Original oft nur spärlich instrumentierten Stücke mehr Volumen, wirken fast dreidimensional. „Chelsea Hotel", Cohens Hommage an seine Liebelei mit Janis Joplin, gewinnt durch seine Entschleunigung ebenso wie „So long Marianne", das von seinem schrillen Backgroundgesang befreit wurde. Das letzte Mosaiksteinchen des musikalischen Großereignisses bildet die geschickte Song-Auswahl. Cohen hat in seinem langen musikalischen Wirken ein Repertoire an Hits erarbeitet, die an einem solchen Abend nicht fehlen dürfen. Das mit religiösen Metaphern bespickte „Susanne" zum Beispiel. Oder „Hallelujah" und „First We Take Manhattan". Cohen führt durch alle Stimmungsphasen seines Schaffens, seine Biografie kann in Kürze nicht erzählt werden. Selbst nach drei Stunden hat der Entertainer noch viel zu sagen. Dabei hätte das engelsgleiche „If It Be Your Will", das von den Backgroundsängerinnen Charlie und Hattie Webb allein mit Gitarren- und Harfenbegleitung vorgetragen wird, den Weg aufgetan, um im Verzückungshimmel anzukommen. Doch Cohen schätzt das Ritual, und so wird der Abschied von der Bühne zur Zeremonie. Mit „Closing Time", „I Tried to Leave You" und „That's No Way To Say Good Bye" entlässt er seine „Friends" in die Nacht, die trotz des erwärmenden Programms feststellen müssen, dass auch hier der Herbst angekommen ist.

Translated by Google Translate

Confessions of a Poet

Esslinger Zeitung - October 4, 2010 by Ole Detlefsen (Photo: Bulgrin)

Thoughtful Bohemian: Leonard Cohen is a much acclaimed concert at the Schleyer Halle Stuttgart

Stuttgart - If one mood to the songs of Leonard Cohen a season to assign them that would probably most likely to fall consideration. in the melancholy gravity of his ballads produces images of landscapes, over which a cloudy sky which arches. A lonely soul looking lost in thought wide, turned up the collar of his jacket, his hat pulled deep into the face. A bit like the dream figure of Leonard Cohen, the stage is at the edge of the Schleyer Halle. Focused entirely up to him, he recites in a low, monotonous singing voice his poems to the dark sounds, the status of his depressing Barden brought in the. Yes, the poet, even in the autumn of life arrived a few days ago he celebrated his 76th Birthday.

Excellent sound

He has a past behind them. At 22 he published his first book of poems, only seven years later, in 1963, he was with his novel "The Favourite Game" hailed as literary hope. The cult status of women-and freedom-loving novelist liked Cohen well, but he saw in the musical version of his often erotically tinged romantic poetry, the greater future. This feeling he was not mistaken, for he took with his music not just the platter of the ladies. The style of thoughtful Bohemians, he maintained. Thin is he, the dark suit and Borsalino, which he carries on his head, give him the dignity of the aging gentleman, but shows no sign of frailty, but a three-hour, in many respects true "best of" delivers. Thus, with the very first notes of "Dance Me To The End Of Love" the Schleyer Halle ushered in a new era. Rarely there was the sound so clear that the instruments and the singing excellent mixed Sun

Besides the talent, understand the "art of dealing with, Cohen also has exceptional musicians in his crew, equally fascinated by the variations of solo and by the perfect integration into the collective band. The virtuosity of the flamenco guitar player Javier Mas and the joy of playing the multi-instrumentalist Dino Soldo of the 8500 will viewers again with applause always acknowledged. Rafael Gayol drummer and bassist Roscoe Beck provide an unobtrusive rhythm, butchers give their team-mates Neil Larsen on keyboards and Bob on guitar space. Through the cooperation of the band and the elaborate arrangements to get the original in most cases poorly orchestrated pieces more volume, seem almost three dimensional. "Chelsea Hotel", Cohen's his dalliance with Janis Joplin tribute by his wins deceleration as well as "So Long Marianne", the shrill vocals was freed from his.

The last piece of the mosaic of the great musical event is the clever song selection. Cohen has his long musical work developed a repertoire of hits in the evening may not be missing one of those. The religious metaphors studded with "Susan" for example. Or "Hallelujah" and "First We Take Manhattan." Cohen guides you through all phases of his creative spirit, his biography in the near future can not be told. Even after three hours of the entertainer has to say much. It "would have the angelic" If It Be Your Will, the background singers Charlie and Hattie Webb alone with guitar and harp accompaniment of the issues are presented, the way opened to arrive in Verzückungshimmel. But Cohen estimates the ritual, and so is the farewell to the stage for the ceremony. With "Closing Time", "I Tried to Leave You" and "That's No Way To Say Good Bye", he divorces his "Friends" in the night, the warming of the program must determine despite that even here the fall has arrived.

Stuttgart, Germany

ENGLISH VERSION.

Geraunte Beschwörungsformeln

Stuttgarter Zeitung - October 2, 2010 by Michael Werne

Stuttgart - Als Leonard Cohen vor ein paar Jahren sein Zen-Kloster verließ, um wieder auf die Bühnen zu steigen, denen er lange zuvor den Rücken gekehrt hatte, da war von finanziellen Gründen die Rede. Mittlerweile scheinen es vor allem die guten Geister zu sein, die er selbst vierzig Jahre lang zahlreich in seinem Werk einquartiert hat, die ihm nun so viel Freude bereiten, dass er gar nicht mehr von der Bühne herunter will. So beseelt, so beglückt singt der heitere Mann mit dem schwarzen Hut in der Stuttgarter Schleyerhalle mit seinem wildledernen Bariton.

Leonard Cohen kokettiert nicht mit seinen 75 Jahren

Geflüsterte, gehauchte, geraunte Meditationen auf der Basis seiner unvergleichlich bilderreichen Songs sind es, mit denen der kanadische Songwriter die 8.500 Menschen in der nahezu ausverkauften bestuhlten Schleyerhalle bannt. Beschwörend rau und dunkel klingt dabei Leonard Cohens Stimme. Nur einmal entfleucht sie in lichte Höhen: „Hallelujah" heißt bezeichnenderweise das Lied, in dem davon die Rede ist, dass einer versuchte zu berühren, weil er nicht mehr fühlen konnte. Da geht dieses großartige, beglückende Konzert gerade in seine vierte Stunde.

Zeit ist kostbar für einen Mann, der jetzt endlich so alt ist, wie seine Stimme immer schon geklungen hat. Leonard Cohen kokettiert nicht mit seinen 75 Jahren. Doch er flechtet sie auf sehr kunstvolle Weise in seinen fantastischen Traumkosmos ein: Als er „I'm your man" gurrt, den Titelsong seines gleichnamigen erotomanen Albums aus dem Jahr 1988, da dichtet Cohen die Maske eines alten Mannes ins Lied, die er der Liebe wegen - so bekundet er - jederzeit tragen würde. Dazu lüpft er den Hut - und altert tatsächlich.

Die Zeile mit dem alten Mann ist symptomatisch dafür, wie beflügelt Leonard Cohen in Stuttgart Liedern, die größtenteils zwanzig bis gut vierzig Jahre auf dem Buckel haben, neues Leben einhaucht. Gleich zu Beginn seines Konzert gelingt ihm so ein magischer Sog: „Ain't no Cure for Love" zerdehnt er virtuos, er bricht das Lied wie Brot und setzt die Krumen bluesig groovend neu zusammen. Gleich drauf wird „Like a Bird on a Wire" zu einer Hommage an die Entschleunigung. Dann gibt er „Everybody knows" mit irrwitziger Phrasierung und melodiöser Ausflugslust. „Jeder weiß, dass der Deal faul ist", heißt es in diesem lakonischen Geniesteich, „der alte, schwarze Joe zupft immer noch Baumwolle für deine Schleifen."

Cohen wählte immer schon den sanften Weg

Dass Leonard Cohen mittlerweile aussieht wie die Idealbesetzung des distinguierten Paten in einem guten Mafiafilm, macht seine Lebensbeschreibungen nur noch eindringlicher. Dass er beim Singen seine Augen zu undurchdringlichen Schlitzen verengt, macht den Weg nach Innen um so plausibler. Manchmal, bei der bewegend hingebungsvollen Version seiner Erinnerungsballade an Janis Joplin, „Chelsea Hotel # 2", etwa, illustriert Leonard Cohen sein Sichversenken im Kniehen auf der Bühne. Es gibt nicht viele Songwriter, denen die Kunst gelungen ist, sich mit Liedern eine eigene Welt aus vollkommener Schönheit zu zimmern, in die das Publikum nach Belieben eintauchen darf.

Die magischen Beschwörungsformeln des gitarrespielenden Poeten werden in Stuttgart bei glasklarem Sound von einer exquisiten Band befeuert. Was die Gitarristen Javier Mas und Bob Metzger an virtuoser Zärtlichkeit beisteuern, was Dino Soldo an der Klarinette, am Saxofon und an der Mundharmonika von der Sehnsucht erzählt, und was der Bassist Roscoe Beck an Leidenschaft generiert, ist schlichtweg sensationell. Und sanft, sehr sanft - drei Mal stellt der Meister seine Musiker an diesem Abend ausführlich vor, den vorzüglichen Drummer Rafael Bernardo Gayol beispielsweise als „Prinzen, Priester und Poeten", und eine der beiden Backgroundsängerinnen spielt nebenbei Harfe.

Der sanfte Weg ist schon immer der des Künstlers Leonard Cohen gewesen. Als Bob Dylan seine Gitarre wütend elektrifizierte und „Like a rolling Stone" explodieren ließ, als Jimi Hendrx in Woodstock die amerikanische Hymne malträtierte, da beschrieb Leonard Cohen seine Depressionen und seine erotischen Fantasien zur akkurat gezupften Konzertgitarre mit Darmsaiten.

In seiner Konzertdramaturgie spiegelt sich seine Leidenschaft

Bei „Suzanne" erzeugt Cohen mit geradezu surrealer Hingabe an die Tee, Orangen und Liebe auffahrende Frau Gänsehaut in der Schleyerhalle. Aber dieser nur selten explizit politische Dichter stellt in Stuttgart auch eine Wachheit unter Beweis, die sein behutsam eingerichtetes Refugium aus wunderschönen Liedern nur um so kostbarer macht: Es sei ein Privileg, sich zu einem Konzert versammeln zu können, während Chaos und Dunkelheit die Welt umklammert hielten, sagt Cohen. „Solidarität mit den Bäumen, die Sie so geschätzt haben" bekundet er dann. Sein Stuttgart-21-Kommentar leitet zum Jubel des Publikums „Anthem" ein, eine seiner starken, getragenen Hymnen für das Trotzdem, in der unwirklich schöner Sirenengesang der Schwestern Charley und Hattie Webb tatsächlich die Lücken aufreißt, durch die das sehnlich besungene Licht ins Dunkel der Welt zu dringen vermag.

Leonard Cohen betreibt die Versöhnung des Pathos mit der Lakonie seit mehr als vierzig Jahren mit einer kaum zu überbietenden Meisterschaft: Allein die dreieinhalb Stunden währende, schier unglaubliche Präsenz des aufrechten, kniehenden oder auch tänzelnden alten Mannes auf der Bühne der Schleyerhalle ist ein starkes Statement wider den Zynismus einer Welt im Geschwindigkeitswahn. In seiner brillanten Konzertdramaturgie spiegelt sich eine ungebremse Leidenschaft für ein Leben, das keinen Tod mehr zu fürchten braucht: Mit einer seherischen Version von „Take this Walz" beendet Leonard Cohen den offiziellen Teil eines Konzertereignisses, das daraufhin mit „So long, Marianne" von neuem beginnt. „Du gingst, als ich dir sagte, ich sei neugierig", heißt es in diesem Lied, „ich sagte nie, dass ich mutig sei."

Leonard Cohen hat den Code des Abschieds und der Wiederkehr in seinen Liedern auf eine Weise durchdrungen, die das endgültige Verschwinden von der Bühne glücklicherweise recht schwierig macht. Vorher muss er noch ein für seine Verhältnisse geradezu aufgekratzt ausgelassenes „Closing Time" geben, ein verwunschen bluesiges „I tried to leave you" und, ganz zum Schluss, eine andächtige Interpretation eines der tiefsinnigsten und zugleich verschrobensten Liebeslieder der Popgeschichte, das Leonard Cohen 1968 in Gedanken an ein intensiv genutztes Hotelbett geschrieben hat. „Hey, that's no Way to say Goodbye", behauptet Leonard Cohen also. Dem ist nichts hinzuzufügen.

Translated by Google Translate

Whispered incantations

Stuttgarter Zeitung - October 2, 2010 by Michael Werne

Stuttgart - The Leonard Cohen a few years ago left his Zen monastery in order to get back on the stage, which he had long ago turned his back because of financial reasons were mentioned. Meanwhile, there seem to be especially the good spirits that he has for forty years quartered numerous in his work, which cause so much joy to him now that he does not want more from the stage down. Sun happily inspired, the gay guy singing with the black hat in Stuttgart Schleyer Halle with his wild leather baritone.

Leonard Cohen is not flirting with its 75 years

Whispered, breathy, whispered meditations are based on its unique imagery songs there, that captures the Canadian songwriter the 8,500 people in the nearly sold-out cabin layout Schleyer Halle. Evocative sounds harsh and darkened as Leonard Cohen's voice. Only once it escapes into possible heights: "Hallelujah", significantly, is the song in which there is talk that tried to touch one, because he could not feel. Since this great, uplifting concert just goes into its fourth hour.

Time is precious for a man who is finally as old as his voice has sounded all along. Leonard Cohen is not flirting with its 75 years. But he weaves a very elaborate way in his fantastic dream universe, when he "I'm your man," coos the title song from his homonymous erotomaniacs album from 1988, sealed since Cohen, the mask of an old man in the song, he is the love because - as he expressed - at any time would wear. For this purpose he raised his hat - and ages actually. The line with the old man is symptomatic of the wings like Leonard Cohen in Stuttgart songs that have mostly twenty to a good forty years on his back, breathes new life. Right at the beginning of his concert succeed him as a magical attraction: "Ain't no Cure for Love" he zerdehnt virtuoso, he breaks the song like bread crumbs together and set the bluesy groovy new. DC on it is "Like a Bird on a Wire" to a tribute to the deceleration. Then he gives "Everybody Knows" with phrasing and melodic trip Impetuous lust. "Everyone knows that the deal is rotten," says the laconic genius pond, "the old black Joe still picks cotton for your loops."

Cohen chose always the gentle way

Leonard Cohen now that looks like the ideal person of distinguished patrons in a good mafia movie, his descriptions of life only makes more urgent. The fact that he narrowed his eyes when singing to impenetrable slots, opens the way to inside the more plausible. Sometimes, when moving devotional ballad version of his memory of Janis Joplin, "Chelsea Hotel # 2", as illustrated Leonard Cohen are to sink in Kniehen on stage. There are not many songwriters who managed the art of rooms with songs from a world of perfect beauty, which may plunge the audience at will.

The magical incantations of the guitar-playing poet with crystal clear sound of an exquisite band ignited Stuttgart. What the guitarist Bob Metzger and Javier Mas contribute to virtuous affection, which tells Dino Soldo on clarinet, the saxophone and the harmonica by the desire, and what generates the bassist Roscoe Beck of passion is simply sensational. And gently, very gently - three times the master is pointing out his music before that night, the excellent drummer Rafael Bernardo Gayol example, as "princes, priests and poets," and one of the two background singers playing the way harp.

The gentle way Cohen has been always that of the artist Leonard. explode as Bob Dylan and his guitar furiously electrified "Like a Rolling Stone" was, as Jimi Hendrx in Woodstock, the American anthem tortured, as described by Leonard Cohen, his depression and his erotic fantasies to accurately plucked guitar with gut strings.

In his concert drama reflected his passion

In "Suzanne" Cohen produced with an almost surreal devotion to tea, oranges and love women starting up excited to be in the Schleyer Halle. But this is rarely explicitly political writer in Stuttgart, a vigilance serves to illustrate the power of his carefully decorated sanctuary of beautiful songs all the more precious: it was a privilege to be able to gather for a concert, during darkness and chaos gripped the world held, says Cohen. "Solidarity with the trees that you have so appreciated," he declared then. His Stuttgart-21-commentary introduces the cheers of the crowd "Anthem", one of his strong, sustained hymns for the same, in the unreal beautiful siren song of the Sisters of Charley and Hattie Webb actually ruptured the gaps through which the ardently sung light into the darkness the world can penetrate.

Leonard Cohen operates the reconciliation of pathos with the laconic for more than forty years with a hard to beat Championship: Only the three and a half hours-long, incredible presence of the upright, knee-making or even prancing old man on stage at the Schleyer Halle is a strong statement against the cynicism of a world in speed mania. In his brilliant concert drama, a non-brake passion reflects a life that no death to fear anymore: With a visionary version of "Take this rolling" stops Leonard Cohen, the official part of a concert event, which then with "So Long, Marianne" by new starts. "You went, as I told you I was curious," it says in this song, "I never said I was brave." Leonard Cohen has penetrated the Code of farewell and the return of his songs in a way that makes the final disappearance from the stage, fortunately, quite difficult. Previously, he must still by his standards almost boisterous rollicking "Closing Time", enter enchanted bluesy "I tried to leave you" and, at the very end, a devout interpretation of one of the most profound and yet most eccentric love songs in pop history, the Leonard Cohen 1968 has written in memory of an intensively managed hotel bed. "Hey, That's No Way To Say Goodbye," Leonard Cohen asserts. Nothing to add.

Stuttgart, Germany

ENGLISH VERSION.

Leonhard Cohen erntet Standing Ovations

Schwaebische Post - October 2, 2010 by Wolfgang Nußbaumer

Vor wenigen Tagen ist er 76 geworden. Sechsundsiebzig. Leonard Cohen, der kanadische Barde. Bei seinem Konzert Freitagabend in der fast ausverkauften Schleyerhalle in Stuttgart hat man davon nichts gemerkt. Hüpfend und winkend kommt er auf die Bühne. Hüpfend und winkend verlässt er sie nach dreieinhalb Stunden, begleitet von standing ovations. Dazwischen eine Blütenlese seiner großen Songs, hinreißend altersweise interpretiert. Dass er zwischendurch seinen Respekt und seine Solidarität für die Menschen bekundet, die in Stuttgart Bäume schützen, macht aus dem Konzert ein Manifest:

Nach dem Konzert meint eine der wenigen jungen Frauen im Meer der Grau- und lichten Schöpfe, das klinge doch im Grunde alles sehr ähnlich, was der Mann mache. Recht hat sie. Gerade das macht das Phänomen Cohen aus. Seine Songs haben einfache Melodien, einen Schuss Pathos, die Abwärtsbewegung Richtung Moll und das Auffangbecken in einer harmonischen Dur-Tonleiter. Zwischen dem sparsamen Auf und Ab verharrt der Barde regelmäßig auf einer tonalen Ebene. Was macht Cohen also, seit er als Mittdreißiger den Beruf des Schriftstellers mit dem des Singer/Songwriters getauscht hat? Er erzählt Geschichten aus dem Leben. In allen seinen Facetten, meist melancholisch, häufig bitter, selten fröhlich, inzwischen gerne mit Selbstironie geimpft. Aber wie er sie erzählt. Mit diesem abgrundtiefen Bass, diesem sonoren Timbre, dem man sich bedenkenlos anvertrauen möchte, dieser Demut und spirituellen Wahrhaftigkeit. Meist kniet er sich zu Beginn eines Songs hin, macht sich klein; keine aufgesetzte Attitüde sondern Ausdruck des Respekts davor, dass er immer noch auftreten kann, dass Menschen ihm zuhören und mit warmer Herzlichkeit auf- und annehmen. Aus seinem Munde klingt das nicht nach freundlicher Routine. Sein Leben hat ihn gelehrt, solche Geschenke anzunehmen. Dafür revanchiert er sich mit seiner vorzüglichen Band bis zur Erschöpfung.

Tiefe Furchen haben sich in das Adlergesicht unter dem schmalkrempigen Hut eingegraben. Spuren des Lebens. Mit „Dance me to the end of love" steigt er ein. Schon von epischer Dimension die Interpretation von "Bird on a wire" mit einem atemberaubenden Solo des Saitenkünstlers Javier Mas. Ohnehin bekommt jeder seinen Vorzeigeauftritt. Dino Soldo, der offensichtlich auf allem blasen kann, was einen Ton hergibt; Leadgitarrist Bob Metzger, der musikalische Direktor Roscoe Beck an E- und Steh-Bass und Neil Larsen an den für den Sound des Cohen-Unternehmens so wichtigen Tasten. „Everybody knows". Aber sicher. Und dann checkt er endlich im legendären „Chelsea Hotel" ein. Nach 80 Minuten legt die Cohen-Crew eine Pause ein.

Anschließend macht er das Fass mit den Evergreens auf. „Tower of songs", „Suzanne", „Sisters of mercy"; später „Feel so good" mit Countrytouch, "Halleluja" (da wird einem so richtig klar, wie schrecklich die Coverversion seiner Landsfrau Anna Maria Kaufmann bei der „Starry Starry Night" der „jazzopen" in diesem Jahr war). „The Gypsys wife" „I'm your man", „Take this waltz" und im Zugabenblock endlich, endlich „So long, Marianne". Standing ovations. Irgendwann muss es dann halt doch sein, auch wenn es allen schwer fällt: „I tried to leave you".

Translated by Google Translate

Leonard Cohen earns standing ovation

Schwaebische Post - October 2, 2010 by Wolfgang Nußbaumer

A few days ago he became 76th Seventy-six. Leonard Cohen, the Canadian bard. At his concert Friday night at the nearly sold-Schleyer Halle in Stuttgart you have not noticed it. Hopping and waving it comes to the stage. Hopping and waving, he left it after three and a half hours, accompanied by standing ovations. In between, an anthology of his great songs, gorgeous old as interpreted. That he between respect and solidarity for the people expressed its that protect trees in Stuttgart, makes the tour a manifesto:

After the concert, said one of the few young women in a sea of gray and sparse tufts, but basically all it sounds very similar to what the men do. She's right. This is what makes the phenomenon of Cohen. His songs have simple melodies, a dash of pathos, the downward direction and the minor reservoirs in a harmonic major scale. Between the economical and downs of the Bard remains a regular on a tonal level. What Cohen does so, since he's the writer with that of the singer / songwriter has changed mid-thirties as? He tells stories from his life. In all its facets, most melancholy, often bitter, seldom cheerful, happy now vaccinated with self-mockery. But as he says. This abysmal bass, the sonorous timbre, which one would safely confide in, this humility and spiritual truth. Usually he kneels down one song at the beginning, makes himself small, no patch attitude but an expression of respect before that can ever occur, he still, that people listen to him and with warm hospitality and to accept. Out of his mouth does not sound to friendly routine. His life has taught him to accept such gifts. But he returned the favor with his excellent band to exhaustion.

Deep furrows have the eagle face under the narrow-brimmed hat inscribed in. Traces of life. With "Dance Me To The End Of Love", he gets on. Already epic dimension of the interpretation of "Bird on a Wire" with a stunning solo artist of the strings Javier Mas. In any case, everyone gets his showcase appearance. Dino Soldo, which can blow at all obvious what a sound hergibt, lead guitarist Bob Metzger, the musical director Roscoe Beck on electric and stand-up bass and Neil Larsen at the sound of the Cohen-business as important keys. "Everybody knows". Of course. And then he finally checked out at the legendary Chelsea Hotel "field. After 80 minutes, Cohen sets the crew a break.

He then makes the barrel of evergreens on the. "Tower of Song", "Suzanne," "Sisters of Mercy" and later "Feel so good" with Country Touch, "Hallelujah" (is there a really clear how terrible the cover of his compatriot Anna Maria Kaufmann at the "Starry Starry Night "to the" jazz open "this year was in). "The Gypsy's Wife" "I'm Your Man", "Take this waltz" and the addition of block finally, finally, "So Long, Marianne." Standing ovations. At some point it must be but then stop, even if it is difficult for all: I tried to leave you. "

Stuttgart, Germany

Der Liedflüsterer

Stuttgarter Nachrichten - October 2, 2010

Thanks to Barbara for providing this article.

Stuttgart, Germany

ENGLISH VERSION.

Das Herz ist eine miese Gegend

Stuttgarter Nachrichten - October 4, 2010 by Anja Wasserbäch (Photo: dpa)

Stuttgart - Beginnen wir in der Mitte. Als der Applaus der rund 8500 Fans zum ersten Mal so richtig tosend ist, hat Leonard Cohen nicht gesungen. Der Grandseigneur der leisen Lieder spricht den Stuttgarter Baumschützern seine Solidarität aus. Cohen ist eigentlich kein Mann der großen Ansprachen, er ist keiner, der sich seinen Fans anbiedert. Der 76-Jährige ist ein charismatischer Sänger, einer, der nichts braucht außer seinen so lässig dahingesungenen Worten. Und davon hat er sehr viele.

Mehr geht nun wirklich nicht: Über drei Stunden reine Konzertzeit. Eine halbe Ewigkeit für moderne Popkonzerte. Ein scheinbar Leichtes für einen wie Cohen. Er ist auf seiner "World Tour 2010" und sagt: "Ich weiß nicht, wann wir wieder hier sein werden. Aber heute verspreche ich, dass wir alles geben werden." Und ja, sie geben alles. Das Konzert von Leonard Cohen und seiner sechsköpfigen Band mit zwei Backgroundsängerinnen zeigt, dass selbst die Schleyerhalle kein großes Tamtam braucht. Während draußen nebenan auf dem Wasen bunte Lichtlein leuchten, gibt es hier keine Show, sondern ein Konzert in seinem besten Sinn. Er ist kein Mann der großen Gesten. Aber der großen Songs und kleinen Szenen. Wie Cohen seinem Mann an der Orgel lauscht, den Hut am Herzen, dann singt er "Hallelujah", hat die Augen geschlossen, und geht in seinem dunklen Anzug hinunter auf die Knie. Er scheint zu flüstern. An den bittersüßen Stellen des Songs. Besondere Momente wie ebenjene gibt es an diesem Abend en masse. Cohen singt sie alle. All jene Klassiker, die auf so berührende Art vom Lieben und Leiden erzählen.

Seine Show braucht nur ihn

Mit seinem erstaunlichen Bassbariton erzählt er aus seinem Leben. Aus dem "Chelsea Hotel No. 2", jenem Song, den er für Janis Joplin geschrieben hat. Zu "Everybody Knows" tänzelt er gar leichtfüßig über die Bühne, greift bei "The Darkness" zu seiner schwarz glänzenden Gitarre, und nicht nur bei "Waiting For The Miracle" fällt diese lebensweise Stimme auf, die doch so viel zu erzählen hat. Wir lauschen und staunen über das perfekte Zusammenspiel dieser Band. Kein bisschen Nostalgie, sondern pures Glück, einen Ausnahmemusiker zu erleben, der doch auch so viel Dichter ist. Einer, der aus einem Repertoire schöpft, das keine Füller braucht.

Seine Show braucht nur ihn. Die Bühne ist schlicht gehalten, Vorhänge schlagen Wellen im Hintergrund, auf dem Boden sind altmodisch gemusterte Teppiche ausgelegt. Mehr ist da nicht, aber viel mehr Musik und Poesie als anderswo. Dezente Einlagen gibt es dann doch. "The Girls Dancing" singt Cohen in dem Song "The Future", und die beiden Backgroundsängerinnen schlagen Rad. Mister Cohen zieht seinen Hut vor seinen Mitmusikern, vor Bob Metzger, dem zweiten Gitarristen, vor Rafael Gayol am Schlagzeug, dem Keyboarder Neil Larsen, Javier Mas aus Barcelona, Dino Soldo, der die melancholische Klarinette erklingen lässt, sowie seinem Musical Director und Freund seit 35 Jahren Roscoe Beck - und natürlich vor den bezaubernden Webb-Schwestern, die ihn nicht nur begleiten, sondern auch ergänzen.

Leonard Cohen weiß, was er kann. Er weiß, dass er niemandem mehr etwas beweisen muss. Außer vielleicht sich selbst. So zeigt er im sehr langen Zugabenblock wie neu und lebendig "First We Take Manhattan" interpretiert werden kann. "Remember me, I used to live for music", singt er da. Am Ende sieht man nur selige Gesichter. Sie haben einen ganz Großen gesehen.

Translated by Google Translate

The heart is a lousy area

Stuttgarter Nachrichten - October 4, 2010 by Anja Wasserbäch (Photo: dpa)

Stuttgart - Let's start in the middle. When the applause of about 8,500 fans for the first time is really roaring, Leonard Cohen has not sung. The grand master of the quiet songs speak from the Stuttgart tree guards his solidarity. Cohen is not really a man of great speeches, he is not one to ingratiate himself to his fans. The 76-year-old is a charismatic singer, one who does nothing except his words so casually dahingesungenen. And he has a lot of them.

More is really not: pure than three hours concert time. An eternity for modern pop concerts. A seemingly easy for someone like Cohen. He is on his "World Tour 2010" and says: "I do not know when we'll be back But today I promise you we will give everything.." And yes, they give everything. The concert of Leonard Cohen and his six-piece band displays two background singers, even the Schleyer Halle does not need a big fanfare. While outside on the turf next light colorful candles, there is not a show, but a concert in its best sense. He is not a man of grand gestures. But the great songs and short scenes. Cohen listens as his man at the organ, his hat at heart, he sings "Hallelujah", has his eyes closed, and in his dark suit down to his knees. He seems to whisper. At the bittersweet parts of the songs. There are special moments like that it just this evening en masse. Cohen sings them all. All those classics that tell touching on such kind of loving and suffering.

His show needs only to him

With his amazing bass baritone, he talks about his life. From the "Chelsea Hotel No.. 2", that song he wrote for Janis Joplin. To "Everybody Knows" he prances across the stage even lightly engages in "The Darkness" to its black shiny guitar, and not only with "Waiting For The Miracle" is this way of life voice that has so much to tell. We listen and marvel at the perfect interplay of the band. Not a bit of nostalgia, but pure luck to experience an exceptional musician, who is yet so much a poet. One that draws from a repertoire that does not need a filler.

His only show needs him. The stage is kept simple, curtains make waves in the background, on the floor are old-fashioned patterned carpets laid out. More is not there, but much more music and poetry as elsewhere. Subtle deposits are there after all. The Girls Dancing "Cohen sings in the song" The Future ", and the two background singers beat wheel Mister Cohen takes his hat to his fellow musicians, from Bob Metzger, the second guitarist, said before Rafael Gayol drums, keyboardist Neil Larsen, Javier Mas from Barcelona, Dino Soldo, which can be heard the melancholy clarinet and his musical director and friend for 35 years, Roscoe Beck - and of course before the magical Webb sisters who accompany him not only, but also complementary.

Leonard Cohen knows what he can. He knows he has to prove anything to anybody. Except maybe herself so he shows in the very long block as the addition of new and alive "First We Take Manhattan" can be interpreted. "Remember me, I used to live for music", as he sings. In the end, you just blessed faces. You have seen a big time.

Katowice, Poland

Set List - October 4, 2010

Per majmunka on The Leonard Cohen Forum

Katowice, Poland

ENGLISH VERSION.

"To przywilej grac dla was" - Leonard Cohen w Polsce

Wiadomosci - October 4, 2010 (Photo: Marek Zimny)

Owacje na stojaco, siedem bisów i wiele cieplych slów pod adresem publicznosci - tak zakonczyl sie poniedzialkowy koncert legendarnego kanadyjskiego piesniarza i poety Leonarda Cohena w Spodku w Katowicach. Zabrzmialy wszystkie jego najslynniejsze utwory.

Juz witajac Cohena katowicka publicznosc zerwala sie z krzesel. Koncert rozpoczal sie kilka minut po godz. 19. utworem "Dance Me To The End Of Love". Piesniarz i jego zespól wystepowali na tle prostej scenografii, stylizowanej na klubowa. Kameralny charakter mial tez sam koncert, choc odbywal sie w wypelnionej szczelnie widzami hali Spodka.

Cohen, ubrany w ciemny garnitur i kapelusz, czesc piosenek wykonywal kleczac. "Damy wam wszystko, co mamy" - zapewnil juz na poczatku koncertu, dziekujac za cieple przyjecie. Zabrzmialy m.in. "Ain't No Cure for Love"' "Bird On A Wire", "Everybody Knows", "Waiting For The Miracle", "Suzanne", "Hallelujah", czy "I'm Your Man".

Zgodnie z oczekiwaniami fanów, zabrzmial tez "Chelsea Hotel", dedykowany Janis Joplin, z która Cohen byl zwiazany. Dokladnie w poniedzialek przypada 40. rocznica smierci slynnej piosenkarki. Czesc tego utworu Cohen równiez wykonal kleczac. - To przywilej grac dla was - powiedzial do widzów, podkreslajac, ze dobrze byc razem, kiedy w wielu regionach swiata panuje chaos i cierpienie.

Uznanie publicznosci zyskal caly zespól - artysci grajacy solówki na swoich instrumentach byli nagradzani goracymi brawami, podobnie jak piekne jasnowlose chórzystki, które podczas jednego z utworów daly nawet akrobatyczny popis, robiac jednoczesnie tzw. gwiazde. Tanczac i podskakujac schodzil tez ze sceny sam mistrz.

76-letni Cohen az trzykrotnie dal sie namówic na bisy, wykonujac po kilka piosenek, wsród nich "So long, Marianne", "First We Take Manhattan", czy "Closing Time", podczas której wzial czerwona róze od jednego z fanów pod scena. - Nie wiem, jak dlugo dam rade to robic, ale jestesmy wam wdzieczni - zartowal muzyk podczas bisów. - Jedzcie bezpiecznie do domu. Pogoda sie zmienia, nie przeziebcie sie - mówil. Na koniec podziekowal za "wspaniala goscine". - Do zobaczenia gdzies na trasie, wszystkiego dobrego - pozegnal sie.

Dla 35-letniego pana Marka z Tychów udzial w koncercie Cohena byl najwiekszym muzycznym marzeniem, które udalo mu sie zrealizowac dopiero za czwartym razem - wczesniej koncerty odwolywano lub nie mógl pojechac. - Wreszcie sie udalo i Cohen nie zawiódl w zadnym calu. Zaspiewal chyba wszystkie piosenki, jakie chcialem uslyszec. Byl w mistrzowskiej formie, podobnie jak caly jego zespól - entuzjazmowal sie tyszanin.

Po raz pierwszy na koncercie swojego rodaka byli tez Natalie i Kuba z Kanady, studiujacy obecnie medycyne w Uniwersytecie Jagiellonskim. - Musielismy przyjechac do Polski, zeby zobaczyc Cohena - smiali sie. - Koncert niezwykly, z niczym nie porównywalny - mówili.

Para w srednim wieku - Anita i Michal z Olkusza - powiedzieli PAP, ze sa jak "zaczarowani". - Sluchalismy go od zawsze, od licealnych czasów. A dzis - niesamowity glos, niesamowita kondycja. I slowa uznania dla publicznosci - powiedziala pani Anita.

Poniedzialkowy koncert w Katowicach pierwotnie mial sie odbyc w marcu, ale ten i kilkanascie innych wystepów przelozono na jesien z powodu kontuzji kregoslupa, jakiej Cohen doznal podczas treningu. Pod koniec sierpnia okazalo sie, ze mozliwy jest tez drugi koncert w Polsce. Dzieki temu za kilka dni - 10 pazdziernika - bard wystapi na warszawskim Torwarze.

Translated by Google Translate

"It is a privilege to play for you" - Leonard Cohen Poland

Wiadomosci - October 4, 2010 (Photo: Marek Zimny)

Standing ovations, seven encores, and many kind words at the audience - that ended with Monday's concert by the legendary Canadian singer and poet Leonard Cohen in Spodek Hall in Katowice. Sounded all his most famous pieces.

Cohen has already greeted the audience Katowice jumped up from chairs. The concert began a few minutes after hours. 19. the song "Dance Me To The End Of Love." Singer and his team performed against a simple set design, styled club. The intimate nature of the concert itself was also, though held in the tightly packed Spodek hall audience.

Cohen, dressed in a dark suit and hat, part of the songs performed on his knees. "We will give you all that we have" - assured from the beginning of the concert, thanks for the warm welcome. Rang out among others "Ain't No Cure for Love", "Bird On A Wire," "Everybody Knows," "Waiting For The Miracle," "Suzanne," "Hallelujah," or "I'm Your Man."

As expected, the fans, sounded too "Chelsea Hotel", dedicated to Janis Joplin, with whom Cohen was bound. Exactly the 40th falls on a Monday death anniversary of the famous singer. Part of this work Cohen also performed kneeling. - It is a privilege to play for you - he said to the audience, stressing that it's good to be together, when in many regions of the world is in chaos and suffering.

Gained public recognition of the team - the artists playing solos on their instruments, they were rewarded with a hot round of applause, like a beautiful blond chorus girl who, during one of the songs have given up an acrobatic show, while doing so. star. Dancing and jumping from the stage or walking down the grand master himself.

76-year-old Cohen has given up three times to persuade the encore, performing several songs, including "So Long, Marianne", "First We Take Manhattan" and "Closing Time", during which he took a red rose from one of the fans near the stage . - I do not know how long I'll manage to do it, but we are grateful - musician joked during the encores. - Ride safely home. The weather is changing, not przeziebcie up - he said. At the end thanked the "great hospitality". - See you somewhere along the way, all the best - Quit.

For the 35-year-old Mr. Mark from Tychy Cohen participated in the concert was the biggest musical dream, which he managed to achieve only the fourth time - earlier concerts referenced or could not go. - Finally, succeeded, and Cohen did not disappoint in any respect. He sang all the songs unless they wanted to hear. He was in championship form, like the rest of his team - the tyszanin enthused.

For the first time at the concert were also his compatriot Natalie and Cuba from Canada, currently studying medicine at the Jagiellonian University. - We had come to the Polish, to see Cohen - laugh. - Concert unusual, with nothing comparable - they said.

A pair of middle-aged - Anita and Michael of Olkusz - PAP said that they are as "bewitched." - Listened to him ever since, from the high school age. And today - an incredible voice, incredible condition. And words of praise for the audience - said Ms Anita.

Monday's concert in Katowice, originally was to be held in March, but this and several other performances in the autumn has been postponed due to injury of the spine, which Cohen has suffered during training. In late August, it turned out that it is possible a second concert in Poland. Thanks to a few days - October 10 - the bard perform at Warsaw's Torwar.

Katowice, Poland

ENGLISH VERSION.

Leonard Cohen w Spodku dal z siebie wszystko

Katowice Gazeta - October 4, 2010 by Marcin Babko (Photo: Bartlomiej Barczyk/Agencja Gazeta)

Leonard Cohen jest ikona popkultury i równoczesnie swoista antyikona rock'n'rolla. Który z wielkich gwiazdorów zdobylby sie na to, by u szczyty slawy rzucic kariere, zaszyc sie w kasztorze i zostac mnichem? Historia jego zycia dziala na wyobraznie. Ale nie tylko dlatego ponad 8 tysiecy fanów z calego Polski wypelnilo w poniedzialek katowicki Spodek. Najwazniejszym powodem sa jego piosenki.

Koncert zaczal sie od "Dance me to the end of love", jednego z najwiekszych przebojów Cohena. - Dzis wieczorem damy wam wszystko co mamy - dziekowal artysta za gorace przyjecie. Potem zaspiewal przejmujace "Bird on a wire". Tego wieczoru wielkie emocje wzbudzal zreszta kazdy utwór. Zespól gral niemal same klasyki: "Future", "There ain't no cure for love", "Everybody knows", "Waiting for the miracle", "Tower of song", "Suzanne", "Sisters of mercy", "Hallelujah", "I'm your man", "Take this waltz".

Cohenowi towarzyszyl 8-osobowy zespól muzyków z calego swiata. Ich maestrie slychac bylo w partiach solowych (znakomity Javier Mas, hiszpanski wirtuoz egzotycznych instrumentów strunowych, na 12-strunowej gitarze akustycznej w "Who by fire"), ale tez we wspólnej grze. Uwage wszystkich przykuwal jednak Cohen. Artysta kazdy swój koncert traktuje jak wielkie swieto, które celebruje z pelna czcia. Na scenie wazne jest kazde slowo i chwila ciszy, kazdy gest. Wzruszal sposób, w jaki przedstawial muzyków i czlonków ekipy technicznej oraz szacunek, z jakim podchodzil do zespolu i do publicznosci.

Podczas zagranego na bis "So long, Marianne" fani wstali z miejsc i ruszyli pod scene. W sam raz do tanecznego bitu "First we take Manhattan". Potem byl jeszcze psalm "If it be your will" w anielskim wykonaniu eterycznych chórzystek. I "Closing time", podczas którego Cohen zyczyl fanom, by uwazali po drodze do domu i nie zlapali kataru, bo pogoda sie zmienia. A nawet to nie byl jeszcze koniec. 76-letni artysta dal trzy i pólgodzinny, wspanialy koncert.

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Leonard Cohen in Spodek gave it everything

Katowice Gazeta - October 4, 2010 by Marcin Babko (Photo: Bartlomiej Barczyk/Agencja Gazeta)

Leonard Cohen is an icon of popular culture and at the same time a kind of antyikona rock'n'roll. Which of the great stars of zdobylby on it to throw at the summits of fame career, retreat to the kasztorze and become a monk? His life story to the imagination. But not only because of more than 8000 fans from all over the Polish completed on Monday at Spodek in Katowice. The most important reason is its songs.

The concert began with "Dance Me To The End Of Love," one of Cohen's greatest hits. - This evening we'll give you everything we have - thank the artist for the warm welcome. Then he sang a poignant "Bird on a Wire." That evening, moreover, aroused great excitement each song. The band played almost the same classic, "Future," "There Is not No Cure for Love," "Everybody Knows," "Waiting for the Miracle," "Tower of Song", "Suzanne," "Sisters of Mercy," " Hallelujah, "" I'm Your Man "," Take this waltz."

Cohen was accompanied by eight-piece band of musicians from around the world. Their mastery was heard in the solo parts (excellent Javier Mas, Spanish virtuoso of exotic stringed instruments, the 12-string acoustic guitar on "Who By Fire"), but also in the common game. Attracted the attention of all, however, Cohen. He treats each of his concert as the great festival that is celebrated with full devotion. On stage, it is important to every word and moment of silence, every gesture. Moved by the way depicted musicians and members of the technical team and the respect with which he approached the band and the audience.

When played by an encore of "So Long, Marianne" fans rose from their seats and rushed the stage. Just in time for the dance beat of "First We Take Manhattan." Then he was still a psalm, "If It Be Your Will" in the execution of ethereal angelic chorus. And "Closing Time", during which Cohen wanted the fans that thought the way home and catching colds, because the weather is changing. And even that was not the end. 76-year-old artist has given three and a half hour, a great concert

Katowice, Poland

ENGLISH VERSION.

Leonard Cohen zaczarowal Spodek i zachwycil swoich fanów

Nasze Miasto - October 4, 2010 by Ola Szatan (Photo: Arkadiusz Lawrywianiec)

"Gdy legendarny Cohen wchodzi na scene, mozna jego wystep uznac za kulturowe przezycie w wymiarze biblijnym" - pisal w czerwcu 2008 roku irlandzki "The Independent".

Wczorajszy wystep Leonarda Cohena w katowickim Spodku z pewnoscia do takich mozna zaliczyc. To byl jeden z najpiekniejszych koncertów, jakie w ostatnim czasie mialy miejsce w naszym regionie. Katowicka hala wypelniona byla po brzegi fanami kanadyjskiego barda, którzy przybyli z najodleglejszych zakatków Polski, na co wskazywaly rejestracje samochodów zaparkowanych wokól hali.

Leonard Cohen, trwajacy ponad 3 godziny koncert, rozpoczal od mocnego akcentu - slynnego "Dance me to the end of love", które wywolalo wielka euforie wsród publicznosci. Niejedyna tego wieczoru. - Dziekuje wam, moi przyjaciele - mówil ze sceny artysta.

Klimat, który udalo sie wytworzyc Cohenowi byl niepowtarzalny. Chociaz gral w wielkiej hali, to udalo sie zachowac kameralnosc koncertu. Czuc to bylo m.in. podczas utworu "Chelsea Hotel", która Leonard Cohen poswiecil Janis Joplin (Kanadyjczyk byl w niej zakochany). W doskonalej formie byl nie tylko wokalista, ale i towarzyszacy mu muzycy, w tym basista Roscoe Back, który jednoczesnie pelni role kierownika muzycznego zespolu. Kazdy instrument na swój sposób byl pieknie wyodrebniony. Uwage zwracaly dwie chórzystki - The Webb Sisters, które nie tylko dodawaly uroku piosenkom swym nienachalnym, delikatnym wokalem, ale i wlaczaly elementy akrobatyczne do wystepu. Duzy aplauz wywolaly m.in. "Tower of song" i "Suzanne" - od których Cohen rozpoczal druga czesc koncertu. Retrospekcja najwazniejszych okresów w karierze kanadyjskiego barda wypadla znakomicie.

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Leonard Cohen charmed and impressed by his flying saucer fans

Nasze Miasto - October 4, 2010 by Ola Szatan (Photo: Arkadiusz Lawrywianiec)

"When the legendary Cohen takes the stage, his performance can be considered as a dimension of cultural survival in the Bible" - wrote in June 2008 the Irish, "The Independent".

Leonard Cohen's performance yesterday in Katowice certainly include those. It was one of the most beautiful concert, which recently took place in our region. Katowice hall was filled to the brim with fans of the Canadian bard, who came from the remotest corners of Polish, as suggested registrations cars parked around the hall.

Leonard Cohen, which lasted over three hours concert started with a strong accent - the famous "Dance Me To The End Of Love", which caused a great euphoria amongst the audience. Not the only this evening. - Thank you, My friends - said from the stage artist.

Climate, who managed to create Cohen was fantastic. Although he played in the great hall, it has managed to keep intimate concert. Feel it was such during the song "Chelsea Hotel," which Leonard Cohen spent Janis Joplin (Canadian, was in love with her.) In excellent shape was not only a singer, but the accompanying musicians, including bassist Roscoe Back, who also serves as music director of the team. Each instrument in its own way was a beautifully distinct. Pay attention to two chorus girls - The Webb Sisters, which not only they added charm to his songs a mild, delicate vocals, but also involve elements of acrobatic performance. Caused such a big round of applause "Tower of Song" and "Suzanne" - from which Cohen began the second half of the concert. Flashback most important periods in the career of the Canadian bard fared very well.

Katowice, Poland

ENGLISH VERSION.

Magiczny glos Leonarda Cohena zaczarowal Spode

Wiadomosci24 - October 5, 2010 by Pawel Kilianski (Photo: Pawel Kilianski)

W poniedzialek, 4 pazdziernika w katowickim Spodku odbyl sie niezwykly koncert Leonarda Cohena. Jego cieply i nastrojowy glos przyciagnal tysiace fanów z calego kraju oraz zza granicy.

Kilka minut po godz. 19, na scenie pojawil sie Leonard Cohen wraz z osmioosobowym zespolem.Publicznosc momentalnie wstala z miejsc i na stojaco przywitala artyste, który kilkakrotnie uklonil sie oraz podziekowal za tak cieple przyjecie. Koncert rozpoczal sie od wielkiego przeboju artysty - "Dance me to the end of love", który zostal entuzjastycznie przyjety przez widzów.

- Dziekuje wam wszystkim, moi drodzy przyjaciele. Mam nadzieje, ze czujecie to samo co ja - mówil ze sceny Leonard Cohen. Koncert trwal ponad trzy godziny, lacznie z 15 minutowa przerwa. W trakcie wystepu, publicznosc uslyszala najwieksze i najbardziej rozpoznawalne utwory, które sa znakiem rozpoznawczym piosenkarza- "Future" , "Everybody knows", "Tower of song", "Suzanne", "Sisters of mercy". Niezwykle wzruszajacy utwór „Hallelujah" zostal zagrany i zaspiewany z takim uczuciem, ze niejedna osoba musiala ukradkiem ocierac lzy ze wzruszenia, które splywaly jej po policzkach.

Bilety na ten wystep zaczynaly sie od 150 zlotych (najwyzsze sektory), a konczyly na 800 zl przy samej scenie. Nawet tak wysoki koszt za wejsciówki nie odstraszyl fanów Leonarda Cohena w zapelnieniu niemal w calosci katowickiego Spodka. Ten fakt swiadczy o tym, ze artysta ciagle jest popularny w naszym kraju, pomimo skonczonych 76 lat.

Pierwszy bis rozpoczal sie od slynnego "So long, Marianne", przy którym publicznosc wstala z miejsc i rytmicznie kolysala sie do rytmu. Czesc z nich udala sie pod scene. Nastepnie uslyszelismy "First we take Manhattan" i psalm "If it be your will" w wykonaniu chórzystek. -Nie mam ochoty zejsc ze sceny, bo gra mi sie tu cudownie - stwierdzil z usmiechem Kanadyjczyk.

Jednym z ostatnich utworów byl "Closing time", po którym artysta zyczyl wszystkim szczesliwego powrotu do swoich miast oraz zdrowia, poniewaz najblizsze dni maja byc bardzo zmienne. - Bylo warto jechac blisko trzysta kilometrów, zeby zobaczyc „Leonardka" na zywo- powiedziala z czuloscia pani Janina, która przyjechala na koncert spod Rzeszowa.

Leonard Cohen dal wspanialy i niezapomniany koncert w katowickim Spodku. Byc moze byl to ostatni koncert artysty w "magicznej hali". Wiele osób zalicza ten wystep do jednego z najlepszych w calej historii "Spodka", co jest wystarczajaca recenzja tego, co w poniedzialkowy wieczór dzialo sie w Katowicach.

Piosenkarz wraz ze swoim zespolem zagra jeszcze jeden koncert w naszym kraju. 10 pazdziernika, Leonard Cohen wystapi w Sali Kongresowej w Warszawie.

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Leonard Cohen's voice magically charmed Saucer

Wiadomosci24 - October 5, 2010 by Pawel Kilianski (Photo: Pawel Kilianski)

On Monday, October 4 in Katowice was an unusual concert of Leonard Cohen. Its warm and intimate voice attracted thousands of fans from around the country and abroad.

A few minutes after the hour. 19, appeared on stage with Leonard Cohen, an eight-man team.The audience immediately rose from their seats and greeted with standing artist who repeatedly bowed and thanked them for such a warm welcome. The concert began with the smash hit of the artist - "Dance Me To The End Of Love", which was enthusiastically received by viewers.

- Thank you all, my dear friends. I hope you feel the same as me - he said from the scene Leonard Cohen. The concert lasted over three hours, including a 15 minute break. During the concert, the audience heard the largest and most recognizable songs that are the hallmark of a singer-"Future," "Everybody Knows" "Tower of Song", "Suzanne," "Sisters of Mercy." Very touching song "Hallelujah" was played and sung with such feeling that many a person had to surreptitiously wipe away tears of emotion that ran down her cheeks.

Tickets for the show started with 150 gold (the highest sectors), and ended on 800 zl the same stage. Even such a high cost per seat is not scared of Leonard Cohen fans in full, almost entirely Katowice Spodek. This fact proves that the artist is still popular in our country, despite the finite 76 years.

The first encore began with the famous "So Long, Marianne", at which the audience rose from their seats and swaying rhythmically to the beat. Some of them went to the scene. Then we heard "First We Take Manhattan" and the psalm "If It Be Your Will" by the chorus. -I do not want to leave the scene, because the game wonderfully me here - said with a smile, a Canadian.

One of the last songs was "Closing Time", after which the artist wished all a happy return to their cities, and health, because the next few days will be very volatile. - Was it worth it to go nearly three hundred miles to see "Leonardka" live, "she said with a sensitivity of Janina, who came to the concert from Rzeszow.

Leonard Cohen gave a wonderful and memorable concert in Katowice. Perhaps it was the last concert artist in the "magic hall." Many people include this show to one of the best in history "Spodek", which is sufficient peer review of what has happened Monday night in Katowice.

Singer and his team will play another concert in our country. October 10, Leonard Cohen will perform in the Congress Hall in Warsaw.

Moscow, Russia

Set List - October 7, 2010

Per TGuy on The Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Bird On The Wire
Everybody Knows
Who By Fire
The Darkness
Born In Chains
Chelsea Hotel
Waiting For The Miracle
Anthem

Second Set

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

Encores

So Long, Marianne
First We Take Manhattan
Closing Time

Moscow, Russia

ENGLISH VERSION.

I-Muz - October 8, 2010 by galvich

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Leonard Cohen just not optimistic ...

I-Muz - October 8, 2010 by galvich

Yesterday in the Kremlin Palace was the day of a famous man, the world-famous writer and poet, musician and singer Leonard Cohen (Leonard Cohen). Canadian bard, who recently turned 76 years old, more than three hours was on stage with guitar in hand, leaving only an intermission. Two compartments were filled with music and only music ... A musician is almost no contact with the audience who came to hear him, and maybe he's just talking the language of music with the audience. And he understood and felt it echoed dozens of votes from the audience when he sang his hits ...

Musical creativity Cohen critics are pessimistic, but it's understandable, because the author lived for many years away from people on a small Greek island, and then fate or he had decided that we should understand Buddhism, and Cohen went to a Buddhist monastery ..

Leonard Cohen performs on stage for over forty years, during which time a musician has given countless concerts around the world. So how is singing this musician who does not sing no more, because he did not even sing, and sings as if - whisper your songs, where the most important thing - poetry. He did not "run" on the stage, he - almost a "praying" on his knees and talking about life and human destiny in it, religion and love, loneliness and sense of existence.

Most likely, this is the last world tour, Bard, during which he has already given nearly 200 concerts. In Moscow, Leonard Cohen for the first time, so little to say that it is VERY waited .. waited for him so eagerly that the tickets were sold out within days. Man - an enigma done without the usual interview before the concert, he simply refused to him. But communication on stage with the audience was very brief: a small greeting and .. music.

The first branch started with the song «Dance Me to the End of Love», then followed by other hits maestro .. respite audience was given, followed by a song by song, and the man in black then fell to his knees, then rose and approached the auditorium. . singing «Waiting for the Miracle», Cohen graduated from the first branch, and went backstage, and the hall still could not calm down ..

The second division was even more exciting, and the musicians managed without special effects, and any "show-stuff" to keep the room at the same voltage that the end of the branches half the orchestra was at the scene, the flickering iPhones. Hall was furious! Sounded «Hallelujah», then «Take This Waltz», and ... concert "encore" known all over «So Long, Marianne».

Will there ever be the second concert is unknown, but yesterday was a dream of many of those who came to the concert: they had seen and heard the great Leonard Cohen!

Moscow, Russia

ENGLISH VERSION.

Rossiyskaya Gazeta - October 8, 2010 by Andrew Vasyanin (Photo: Sergei Kuksina)

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Dance until the end of love - Leonard Cohen has taken to Moscow

Rossiyskaya Gazeta - October 8, 2010 by Andrew Vasyanin (Photo: Sergei Kuksina)

He jumped onto the stage skipping, holding his black hat running, nor give nor take - a professor of literature, hurrying down the street at the next lecture. The old gentleman was in a hurry to the microphone, because the group under an explosion of applause great hall of the Kremlin Palace has already played the first bars of Dance Me To The End Of Love (The dance before the end of love) ...

Why Leonard Cohen, poet and novelist, winner of the Governor-General (the highest literary awards in Canada) an active participant in the artistic circle of Andy Warhol in the late 60's took up the guitar? They say that everything happened by chance - played somewhere at a party composed at leisure Suzanne, it was picked up, and then, when we learned that the author - Cohen was invited to a folk festival, then another, then we are talking about disk space ... And so in the roaring electric guitars rebellious 60-s on the scene suddenly appeared lanky intellectual with songs in which there was then a drop of aggression, but - experiences nonconformist limiting riot quiet statement that he sees. "I'll never forget that I'm singing to people who survived the catastrophe. - He wrote later .- This leads to a hush. Utter words that impart information and stand aside ..."

With such a position recorded the very first album "Songs of Leonard Cohen's" hit the nail on the jet - it enthusiastically adopted the folk community, he is a year not coming out of the U.S. charts.

Since then, Cohen has released several books of prose and verse, has recorded some 15 albums of acoustic guitar switched to a synthesizer, it simply sounded musical harmony, accompanied by jazz-fusion group, the text appears global religious motives (for several years at the turn of the 80 He even hides from the world of Zen Buddhist center), then Burning love lyrics ...

"Under the weeping violins, the dance of beauty / Life is cruel sometimes with us forever just a dream / Touch me with his hand, gently call out / The dance before the end of love ..." Dance Me To The End Of Love - fluttering Jewish motifs and clarinet hoarse and low baritone maestro, supported by gentle tones backing vocalists. In the next song, the title track from the album The Future, the song "protest-Cohen 'legs began to move themselves in hard-dimensional pace, given a bass guitar:" All of the Ten Commandments in turn dust.

Love like a whore, will give the court the crowd / And on the road, lit a fire pillars / Zaplyashut demons. "- So elegant gentleman in a hat with an ironic smile, visible to appeal to a huge hall monitors, introduced us to the near future.

But all this was somehow not very scary. Because even these terrible social apprehension and jerking Cohen in the early 90's (time-The Future), replaced by personal experiences of the author, supported by soft musical harmony. From the scene in the hall began to flow, shimmering colors and sounds of a quiet, velvety, melancholy, slow, sticky river. Nothing had been excessive, the bustle, a leisurely pace Cohen ballads every musician had time juicy, tasteful, in all its glory to show their art. At the forefront of the songs were tools to encrust, brighter submit doling Cohen harmony. The first batch is almost in the instrumentation of each song almost led acoustic guitar, which string-maker ("a virtuoso of Barcelona, as presented to Cohen), Javier Mas now and then changed the calls to the mandolin, gives, say, an old Cohen ballad" The Partizan "romantic tonality "songs of resistance" (though she was so devoted to their time of Che Guevara). The young man in the back of the stage was taken then the flute, the saxophone for those moments when the smooth burning songs needed to add emotions - and then she flashed a bright flame (Hallelujah).

But in Cohen's repertoire there are songs that additional instrumentation is required. And the room knows them and is always waiting. At the beginning of the second branch (the great gentleman allowed himself a little intermission), he remained on stage alone, a beam of blue spotlight with his guitar in his hands. A few touches of strings - and began a story: "Suzanne takes you by the hand and leads to the river, and you want to go for it everywhere, being blind, you know that she trusts you, but you can touch her body but the mind ... " and further, until the end of the song - a quiet guitar bust, quiet words of love. And then on the maestro had fallen red beam and sounded Avalanche ("Avalanche") - "I entered into an avalanche, it covered my soul, and then I was not the hunchback, who are you, darling, you see, and slept at the foot of the golden mountain .. ". and again - the sadness, understanding that love can now be taken out only with the living flesh ...

Time has changed Cohen. On the scene suffering, begging on my knees crying out to God (Anthem, "Psalm"), to beloved (Bird On The Wire, "Bird on a Wire"), to our charity (Sisters Of Mercy) respectable elderly gentleman, no longer able to a statement of quiet ambient - no, he can not, he is tired stand aside, he was alive, he wants love, understanding and harmony. These emotions are subdued room of not less than the splendor of the spectacle, the mastery of musicians and philosophical depth texts.

He tried to leave the scene after the Magic Take This Waltz, Viennese waltz on the last love, but gone mad Hall (including respectable gentlemen of the VIP stalls), together with an ovation and got back the magic band on stage and we danced the last waltz of this PM - So Long, Marianne (Goodbye Marianne).

Well, then - beginning bass guitar, drums and went on all at once it became clear that after he took Manhattan, he took Berlin, and now is seems also Moscow ...

Moscow, Russia

ENGLISH VERSION.

LEONARD COHEN: UN MAESTRO EN EL KREMLIN

RT - October 8, 2010 (Photo: RIA Novosti/Ruslan Krivobok)

Leonard Cohen mostró en el Palacio del Kremlin que una persona de 76 años con un sombrero hasta los ojos puede mantener en trance a todo un público durante tres horas, destacó el corresponsal de RIA Novosti.

Lo que pasaba en el escenario no se parecía a un show en su sentido moderno: no habían efectos especiales, sólo proyectores; el vestuario consistía en serios trajes oscuros; los músicos estaban de pie o sentados en sus lugares, y sólo bailaban un poco. Cohen apenas alternaba el eje vertical, aunque de vez en cuando se ponía de rodillas.

A pesar de esto, nadie podía quitar los ojos del escenario. Las pantallas transmitían la imagen de un hombre que lleva los razgos bruscos de un héroe del viejo 'film noir'.

La comunicación con el público y el cantante fue sutil. Apenas luego de un pequeño saludo, empezó con 'Dance Me to the End of Love' y solo casi ya terminando el primer acto, después de 'Waiting for the Miracle' dijo que "le gusta mucho estar en esta ciudad, donde aspiraba mucho venir".

En una de sus entrevistas de 2009, el artista que pasó cinco años en un monasterio budista afirmó que la vida en gira es muy parecida a la del monje, condenando a privaciones, pero estimulado a la concentración. En general, daba la impreisión de que, mientras hablaba de Moscú, pensaba más que nada en lo eterno, en el lugar donde lo puso el destino.

"Todos nosotros debemos recordar que es una suerte estar en salas bonitas, cuando en muchas partes del mundo reinan el sufrimiento y el caos", concluyó Cohen y pasó a otro éxito, 'Anthem' del disco 'The Future'.

Al final del primer segmento, el artista se quitó el sombrero frente a sus músicos, muchos de los cuales lo acompañan hace ya 30 años. Para cada uno encontró una fórmula elogiosa. Así, el percusionista Rafael Gayol se convirtió en "el príncipe de los tambores"; el tecladista Niel Larsen, en el "músico de los músicos"; el saxofonista Dino Soldo, en "el maestro insustituible"; las vocalistas The Webb Sisters, en "insuperables".

Luego se escondió al galope, mientras los espectadores se quedaban pasmados ante esa voz profunda del canadiense, que resonaba en cada persona de la sala, en su precioso rostro de 70 años. El corresponsal de RIA destaca que, en comparación con otros artistas de mucho mundo que actuaron en estos años en el escenario del Palacio de Kremlin, el envejecido Cohen parecía más orgánico, como si estuviera hecho especialmente para esta edad.

"Gracias a todos, que no huyeron", expresó en su segundo acto, después de cantar 'Tower of Song'. Es la canción que Bono y Elton John entre otros cantaron en su honor en un disco tributo.

El cantante no dejó en ningún momento el escenario, solo a veces se retiraba a la sombra, acercaba su sombrero más a los ojos, quedando bajo la luz de los proyectores uno de sus músicos. En las primeras butacas, lo observaban tanto los directores y productores rusos más famosos, así como varios cantantes, para quienes el concierto fue un ejemplo de verdadera maestría.

Éxito por éxito, 'Suzanne', 'Avalanche', 'Sisters of Mercy', 'The Gipsy's Wife', se mostró sentimental durante 'Feel So Good' y ejecutó un espectáculo especial durante 'I´m Your Man'.

El momento culminante llegó con 'Hallelujah'. En un cuplé hizo una reverencia para los moscovitas, y dijo palabras sobre el logro de llegar al Kremlin. El bis fue 'So Long, Marianne'.

Algunos espectadores afortunados habían dejado sus puestos y se reunieron al lado del escenario. En vez de fuegos de encendedores, prendieron las luces de sus iPhones.

"Queremos profundamente cantar toda la noche, pero, desgraciadamente, el sistema entero de prohibiciones nos obstaculiza. Así que les cantamos la obra final, 'Closing Time'. Oí que aquí a la gente le gusta beber mucho. Pero el bar se clausura, el barman limpia las mesas y levanta las sillas. Y nosotros les deseamos buen camino hacia sus casas, felicidad y consuelo en la soledad, y que el invierno no sea muy frío", dijo Cohen.

Durante esta plática alguien ya secaba sus lágrimas, alguien trataba de bailar. Muchos entendían que Cohen, que volvió al escenario en 2008, tras 15 años de pausa, tendrá la posibilidad de hacer otra gira mundial más.

A la salida, alguien en la cola murmuraba 'Famous Blue Raincoat', una canción que, en fin, el canadiense no cantó.

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LEONARD COHEN: A MASTER IN THE KREMLIN

RT - October 8, 2010 (Photo: RIA Novosti/Ruslan Krivobok)

Leonard Cohen was in the Kremlin Palace for a person of 76 years with a hat over his eyes in a trance can keep an entire audience for three hours, said the correspondent of RIA Novosti.

What happened on stage was not like a show in its modern sense had no special effects projectors only, the wardrobe was in serious dark suits, the musicians were standing or sitting in their places, and only danced a bit. Cohen just switched from vertical axis, although occasionally knelt.

Despite this, no one could take your eyes off the stage. The screens transmitted the image of a man who carries the traits of a sudden the old hero 'film noir'.

Communication with the public and the singer was subtle. Just after a brief greeting, he began with "Dance Me to the End of Love 'and just about finished and the first act, after" Waiting for the Miracle' said "I love being in this city where much aspired to come ".

In one of his interviews, 2009, the artist who spent five years in a Buddhist monastery says that life on tour is very similar to the monk, condemned to privation, but encouraged the merger. In general, it was the impreisión while speaking in Moscow, I thought more than anything in the eternal, in the place where you put the destination.

"We must all remember that it is lucky to be in beautiful rooms, when in many parts of the reign of suffering and chaos," concluded Cohen and became another success, 'Anthem' from the album 'The Future'.

At the end of the first segment, the artist took his hat off his players, many of whom accompany him 30 years ago. For each found a way complimentary. Thus, percussionist Rafael Gayol became "the prince of the drums, the keyboard player Neil Larsen, the" musician's musicians, "the saxophonist Dino Soldo," the teacher irreplaceable "The Webb Sisters vocalists in "insurmountable."

Then he hid at a gallop, while the spectators were stunned by the Canadian deep voice that resonated with everyone in the room, in her pretty face 70. RIA correspondent notes that in comparison to other world much in recent years acted on stage at the Kremlin Palace, the old Cohen seemed more organic, as if made especially for this age.

"Thanks to everyone who did not flee," he said in his second act, after singing "Tower of Song '. Is the song that Bono and Elton John among others sang in his honor at a tribute album.

The singer did not leave the stage at any time, just sometimes retreated to the shadows, approaching his hat over the eyes, being in the light of headlamps of his musicians. In the first seat, watched both the directors and most famous Russian producers and singers, for whom the concert was an example of true mastery.

Success by success, 'Suzanne', 'Avalanche', 'Sisters of Mercy', 'The Gipsy's Wife', was sentimental for 'Feel So Good' and performed a special show for 'I'm Your Man'.

The climax came with 'Hallelujah'. In a couplet he bowed to Moscow, and said words on moving to the Kremlin. The encore was "So Long, Marianne."

Some lucky spectators left their seats and gathered near the stage. Rather than fire lighters, lit the lights of their iPhones.

"We deeply sing all night, but unfortunately, the whole system of prohibition hinders us. So I sang the final work, 'Closing Time'. I heard people here like to drink a lot. But the bar was closing, the bartender cleans up tables and chairs. And we wish you good road to their homes, happiness and comfort in solitude, and winter not too cold, "said Cohen.

During this talk someone already dried her tears, someone tried to dance. Many understand that Cohen, who returned to the stage in 2008, after 15 year hiatus, will be able to make another world tour more.

At the exit, someone in the queue whispered 'Famous Blue Raincoat', a song that, well, the Canadian did not sing.

Moscow, Russia

ENGLISH VERSION.

Leonard Cohen en Moscú

RT - October 18, 2010 by Francisco Ramírez

No son pocas las cosas que me gustan de la capital rusa. Una de ellas es su contundente y variada oferta cultural. Para un extranjero, es cierto, acceder a los espectáculos en cartelera puede requerir del "apoyo logístico" de algún(a) conocido(a) o amigo(a). Eso es perfectamente comprensible: cosas elementales como conocer la fecha y lugar exacto en donde se realiza el evento, llegar a destino[i], comprar el respectivo billete de entrada y, finalmente, entender las instrucciones de los guardias y acomodadores, esos asuntos triviales resultan mejor "con una pequeña ayuda de mis amigos". Después, a instalarse con comodidad en la butaca y dejarse llevar por el arte y el entretenimiento ruso o internacional. "Coser y cantar", como se dice.

No sólo de pan vive el hombre. Ignoro quien es el autor de tamaña genialidad, pero adhiero a ella en un 100%. Por tal razón, cultivo algunas aficiones con el fin de que mi paso por el mundo sea grato y, en lo posible, resplandeciente.

Una de ellas es la música. Soy un melómano empedernido y me cuesta imaginar el mundo sin su bendición. También me apasiona la lectura y las películas. Eso implica que de recibir adecuados estímulos a nivel auditivo y visual todo funciona de maravillas. A muchos se interesan por los sabores u olores: para mí son algo secundario, incluso prescindible[ii]: Respecto al tacto, me he preguntado si no tendré la epidermis malograda por completo pues no siento nada. Lo mío es el OÍDO Y EL OJO, o EL OJO Y EL OÍDO, según sea de donde se mire.

Fue por tal razón que cuando vi el afiche del recital de Leonard Cohen me emocioné y mucho. Esto, sin embargo, requiere algunos datitos extra.

Descubriendo al grande

Sucedió en el ´97. Llevaba pocos meses como estudiante de Periodismo y ya me había hecho de un par de camaradas, algo esencial para un chico que enfrenta de la noche a la mañana los estudios superiores. Eduardo, músico de 22 años, me pregunta un día "Pancho ¿conoces a Leonard Cohen?". "No. No he escuchado nunca ese nombre. ¿Es cineasta? ¿Escritor?". "Bueno, sí, escribe... pero me interesa que escuches sus canciones". "Ok. Démosle".

A la tarde siguiente, todo transcurría normal. Era primavera. En mi habitación se colaba un aire frío. Cerré las ventanas y me recosté, no sin antes poner en mi radio el casete -por entonces, esos jurásicos objetos aún se empleaban en mi país- que me había pasado Eduardo. Con letra manuscrita tenía la siguiente inscripción: "The Best of Leonard Cohen".

Veamos, me dije.

Por aquel entonces yo le daba al escurridizo y anfetamínico rock estadounidense o inglés de los ´70 y ´80, y he aquí que, de un momento a otro, me veía enfrentado a esto:

Aún no olvido aquella conmoción. Con mis relativamente elementales conocimientos de inglés podía comprender algo la letra a medida que avanzaba. ¿Aquello era una canción, un relato o un poema...? ¿O las tres cosas... y mucho más?

Una a una, las composiciones se sucedían.

Fui cayendo en una suerte de hipnosis. Aquel mundo era nuboso y estaba predispuesto a la tormenta. Se me estaba contando un secreto vital y en forma de susurro.

En cierto instante, aquel extraño personaje comenzó a cantar en francés y luego unas voces femeninas como salidas de las entrañas mismas de la tierra repitieron su críptico mensaje. Era "The Partisan". El murmullo era el mismo, idéntica la desnudez. Todo muy oscuro, inexplicablemente oscuro[iii].

De pronto, lo inesperado: me fui hundiendo en el sueño. No obstante el letargo, mi cuerpo estaba casi paralizado. Era como el segundo previo a ser fulminado por un rayo. No estaba en este mundo: eso era obvio.

El sonido seguía llegando como una avalancha. A la altura de "Famous blue raincoat" estaba inmovilizado. Por completo. Sentí un mareo indescriptible. Cohen, con su voz desgarrada, seguía con cosas del tipo: "Si alguna vez vienes por aquí, ya sea por Jane, o por mí/ tu enemigo estará durmiendo/ y su mujer es libre...". Eso era el limbo: no podía ser otra cosa.

Minutos antes del fin del disco-"Who by Fire"- caí rendido y no supe más. Cuando desperté, intuí lo sucedido: me había enfrentado, cara a cara, a un pesimismo negro rodeado de flores. Y había salido muy mal parado. ¡Dios! ¿Quién había logrado eso? "Leonard Cohen", releí. "Deberé acordarme de ese nombre".

Y así sucedió. Tal como nos acordamos de nuestra "primera vez" en muchas cosas, nunca pude olvidar a aquel hombre que me había mostrado el fin de la inocencia. De manera categórica, brutal. Así, simplemente: con una guitarra y su voz. Es decir, el fuego.

Moscú, 2010

**** Dadas así las cosas, cuando esa mañana de fines de agosto vi a la salida del Metro Novokuznetskaya la gigantografía con la foto de Leonard Cohen me detuve en seco, haciendo caso omiso de los incontables transeúntes que caminaban frenéticos a su trabajo. La imagen le mostraba con el sombrero negro con el que se le ha visto en los últimos años y frente a un micrófono. Había unas letras en cirílico que me permitían inferir que era su nombre y otras que decían 7 de octubre. Tras eso, una convulsión de "inteligencia" sacudió mi cerebro: "¡VIENE LEONARD COHEN! Leonard Cohen en Moscú! ¡Por mi santa madre! ¡Gloria al que reina en las alturas! ¡Gracias, Señor, por favor concedido!"

A partir de ahí, conté los días cual si fuera un preso.

Página 127, Diario de Vida

14 de septiembre. Hoy conocí un gran centro comercial donde venden artículos electrónicos. Es ENORME. Hay un sinfín de tiendas de música y Dvd´s. Compré una recopilación de Phil Collins y 3 discos de rock soviético -supongo que eso es por la imagen ochentera de las bandas-. Como pasa a menudo, el vendedor no me entendió y terminé indicándole los discos con el índice derecho. Creo que el mercado se llama "Gorbushka", aunque puede que me equivoque ya que todavía me cuesta mucho asociar la mayor parte de las palabras rusas con algo que exista en español y me permita mantenerla retenida. Eso me permite colegir que las vitaminas para la memoria que compré parecen no funcionar, aunque no lo harán si frecuentemente olvido tomarlas. Ah, y Leonard: faltan sólo 23 días. ¡Lo podemos lograr! ¡Fuerza, compañero! ¡Ese día llegara! ¡Hasta la Victoria, siempre!".

Hay cosas más importantes en la vida, pero bueno...

¿Qué me pongo? ¿Jeans, zapatillas, polera y una chaqueta negra delgada? Nunca he ido a un concierto en Moscú. ¿Cómo será eso? Los rusos son bastante formales ¿es posible que la música les desordene? De todas formas, Leonard Cohen no es rock: eso debes tenerlo presente. O sea, sí lo es, pero una suerte de "rock poético". Otra cosa: esto va a ser en el State Kremlin Palace. Eso es muy distinto a un estadio de fútbol para el disfrute de una turba de aficionados al ruido. Ponte serio. Debes dejar bien puesto el nombre de Latinoamérica en un concierto en donde, seguramente, no habrá muchos latinos. Ya. Vístete con unos jeans, plancha una camisa y busca esa chaqueta de cotelé que algo de prestancia te da. Y zapatos. ¡Zapatos: no zapatillas! Mira que harto difícil la tendrán los guardias del Kremlin si se les ocurre hacer un "Face control". "¿Y éste de dónde salió?", es lo menos que se preguntarán. No es que vayas a parecer muy elegante... pero haz el esfuerzo.

El 19 de septiembre de un "año común" de acuerdo con el calendario inventado por el Papa Gregorio XIII quien suscribe se dirigió al (casi pantagruélico) centro comercial de artículos electrónicos Media Markt. En el lugar compró[iv] los CD`s: "Songs from a Room", "Songs of Love and Hate", "New Skin for the Old Ceremony", "Recent Songs", "Various Positions", "The Future", "Field Commander Cohen" y "Live in London" del poeta, novelista y cantante canadiense Leonard Cohen. De esta manera, agregó los volúmenes a su colección, pasando a contar con poco más del 85% de la discografía oficial del músico. El sujeto advirtió que la oferta existente se había incrementado con títulos que no estaban meses atrás. Los precios también eran mayores. Igualmente se dio cuenta de que las placas estaban agrupadas bajo un letrerito con el nombre del cantante en ruso; es decir, ahora tenía una categoría específica para su material.

Leonard Cohen ya estaba en Moscú... o casi. Eso concluí.

"Leonard Cohen: Live at the State Kremlin Palace"

Su sombría literatura y concepción de las relaciones humanas se expandían por el Teatro, envueltas en unas melodías y arreglos instrumentales que probablemente situaban a su banda como fiel exponente de lo que se ha convenido en llamar "calidad musical". Todo era perfecto, sospechosamente perfecto. Se notaba la madurez, la férrea conjunción de caracteres y talentos y las infinitas horas de trabajo. Extrañamente, todos lucían modernos y nada anacrónicos. A pesar de eso, la imaginación no podía sino que deslizarse a otros siglos en los que la música era un tributo a los dioses. Había una cierta atmósfera de atemporalidad -¿inmortalidad?- en aquel escenario. Los segundos parecían suspendidos.

Los moscovitas, por su parte, se daban perfectamente cuenta de eso.

Cohen cantó... y encantó. Así, además de pasearse por un repertorio que incluía sus primeras composiciones de fines de los 60 y comienzos de los 70 -es decir, la mayor parte de sus clásicos- también interpretó algo de su obra de esta década, pasando por sus temas famosos en las radios destinadas a eso que se llama "el adulto joven".

A esas alturas del partido, Cohen ya no tenía nada que perder... ni que demostrar. A sabiendas de ser una leyenda viva de la música popular, pisaba terreno conocido. Con una vitalidad admirable para un hombre de 76 años se paseaba por entre sus músicos, cantaba de rodillas en los momentos de éxtasis, daba algunos saltitos por aquí y por allá, cantaba versos a las chicas del coro poniendo cara de muchacho melancólico e incluso no escatimó en elogios a la hora de presentar a su banda. También se dio el lujo de dejar entrever ese fulgor maligno -demoníaco, diríase- de los tiempos en que concibió uno de sus himnos más ácidos como "First we take Manhattan" del celebrado disco "I´m your man" (88).

En medio de la oscuridad de un teatro en el que no había fuegos artificiales ni muñecos inflables de ningún tipo, podían percibirse numerosos flashes fotográficos.

Los asistentes eran en su mayor parte fanáticos acérrimos del cantautor, lo que se advertía claramente al escucharles seguir en inglés la letra de las canciones, primero con cierta timidez, pero poco a poco con total desenvoltura.

Sólo con los instrumentos de su arte, Leonard Cohen fue conquistando en menos de una hora a los moscovitas: al finalizar el primero de dos bloques el público estaba rendido a los pies de este misterioso y enigmático canadiense que visitaba por primera vez la capital rusa y tal vez -no es descabellado pronosticarlo- por única y última vez.

Poco antes de ir tras bambalinas, el intérprete pronunció unas sentidas palabras, comentando que estaba muy contento de estar en Moscú y que es algo que había deseado por muchos años.

En el intermedio, las escaleras y salones del State Kremlin Palace se repletaron. Mientras algunos se disponían a ir a los servicios, otros iban por un refresco o a fumar en los espacios habilitados. Un observador desapasionado podía constatarlo: la fiesta estaba buena y nadie quería que le devolviesen el dinero de su entrada.

Al volver al escenario, Cohen tuvo uno de sus breves -y por ello celebrados- momentos de humor blanco. "Gracias a todos por no haberse ido...", dijo a los asistentes. Acto seguido, vino una intensa seguidilla de su repertorio más conocido, incluyendo la ya universal 'Hallelujah', 'Sisters of Mercy', 'So Long, Marianne' y "Take this Waltz", esa hermosa canción inspirada en "Pequeño vals vienés" del libro Poeta en Nueva York Federico García Lorca (tal es la devoción del septuagenario intérprete por el destacado autor español que bautizó a su hija Lorca Cohen).

Tras algo más de dos horas de concierto y cerrando con "Closing time" Leonard Cohen había cumplido su sueño de cantar en Moscú y los asistentes el suyo de verlo en casa. La rotunda ovación que se llevó del público fue el broche de oro de una actuación singular, sobre todo si se considera el dato no menor de que no estaba incluida en el plan original de presentaciones del 2010, sino que se agregó en la marcha por razones -¿el deseo del artista?- no reveladas. Cohen y su banda se marchaban para seguir su ruta a otro país en donde seguirían su primera gira en quince años.

En el escenario, como muestra inequívoca de una noche llena de belleza y sentimientos, yacían algunos ramos de flores dejados por admiradoras del cantante, las que en los últimos minutos se habían levantado de sus asientos para acercarse y disfrutar lo poco que quedaba de show.

Llega el fin. Cohen desaparece entre las sombras y el eco de los aplausos y se sumerge en un lugar desconocido-otro espacio, si se acepta la metáfora-. A sus espaldas, las intérpretes del coro recogen los arreglos florales y se despiden llenas de felicidad.

Nadie, sin embargo, lo tomó a mal. Al contrario, concluida esa intensa sesión de categoría y virtuosismo, al maestro ahora se le permitía todo. Todo: incluso el pecado de "venir de vuelta", como se acostumbra a decir: si antes era el poeta quien ofrecía flores... ahora él - el legendario- es su destinatario. Extraño ¿no?

Dobry vecher, Leonard Cohen!

[i] A veces es complejo moverse en una ciudad tan grande Moscú y cuyas señales viales identificatorias obedecen a una lógica singular que incluso es capaz de confundir en algunas ocasiones a los mismos moscovitas

[ii] Eso de gozar de la "buena comida" no es algo que esté en mi concepción del Universo. Si por mí fuera sólo ingeriría pastillas alimenticias. Además, eso de sentarse en una mesa a meterse cosas en la boca con unos extraños instrumentos de metal me parece tan fabulosamente incomprensible como que millones de personas sigan a un ser humano que corre tratando de alcanzar un "marco rectangular formado por dos postes y un larguero, por el cual ha de entrar el balón o la pelota para marcar tantos".

[iii] Algunos días después busqué la letra en Internet y encontré esto: "Los alemanes estaban en mi casa/ Me dijeron que me identificara/ Pero no tengo miedo/ Retomaré las armas/ He cambiado de nombre un centenar de veces/ He perdido a mi esposa y a mis hijos/ Pero tengo algunos amigos...".

[iv] Adquirir música en Moscú es bastante económico y también pueden encontrarse ediciones de lujo (realmente de lujo) aunque a precios más elevados y probablemente no al alcance del grueso de la población. Sin embargo, música -y de la buena- hay y muy barata.

Translated by Google Translate

Leonard Cohen in Moscow

RT - October 18, 2010 by Francisco Ramírez

There are few things I like about the Russian capital. One is its strong and varied cultural offerings. To an outsider, it is true, access to entertainment in theaters may require the "logistical support" from some (a) known (a) or friend (s). That is perfectly understandable: basic things like knowing the date and exact location where the event takes place, to reach their destination[i], buy the corresponding ticket, and finally understand the instructions of the guards and ushers, these trivial matters are better with a little help from my friends. " Then, comfortably installed in the chair and go with the art and the Russian and international entertainment. "Sew and sing," as they say.

Not live by bread alone man. I do not know who is the author of so much genius, but adhere to it 100%. For this reason, cultivating some hobbies to my way in the world is gratifying and, where possible, beaming.

One of them is music. I am an avid music lover and I can not imagine the world without his blessing. Also I love reading and movies. This implies that stimuli receive adequate auditory and visual at all works great. Many are interested in the flavors and smells, to me they are a sideshow, even without[ii]: With respect to the touch, I wondered if the skin will not have completely spoiled because I feel nothing. Mine is the ear and eye, or eye and ear, as the point of view.

It was for this reason that when I saw the poster for the concert of Leonard Cohen touched me a lot. This, however, requires some extra datitos.

Discovering the great

It happened in '97. She wore a few months as a student of Journalism and I had already made a couple of comrades, which is essential for a child facing the overnight college. Eduardo, a musician of 22 years, asked me one day "Pancho do you know Leonard Cohen?". "No. I have not ever heard that name. Is a filmmaker? "Writer?". "Well, yes, write ... but I'm interested to hear his songs." "Ok. Let us. "

The next afternoon, all was normal. It was spring. In my room cold air seeped. I closed the windows and lay down, but not before putting on my radio cassette, then, these Jurassic objects are still used in my country, I had spent Eduardo. With handwriting was the following inscription: "The Best of Leonard Cohen."

Now, I thought.

At that time I gave the slippery rock and amphetamine American or English in the '70s and '80s, and, behold, from one moment to another, I was faced with this:

Not yet forgotten the commotion. With my relatively elementary knowledge of English could understand some point as he went. "That was a song, a story or a poem ...? Or do three things ... and more?

One by one, the compositions are happening.

I fell into a sort of hypnosis. That world was cloudy and was predisposed to the storm. I was telling a secret life and a whisper.

In a moment, that strange man began to sing in French and then a female voice as outputs of the bowels of the earth repeated his cryptic message. It was "The Partisan. " The murmur was the same, identical nudity. All very dark, dark inexplicably[iii].

Suddenly, the unexpected: I was sinking into sleep. However lethargy, my body was almost paralyzed. It was like the second prior to being struck by lightning. It was in this world, that was obvious.

The sound kept coming like an avalanche. At the height of "Famous blue raincoat" was fixed. Completely. I felt an indescribable sickness. Cohen, his voice torn, continued with things like: "If you ever come around here, either Jane or for me / your enemy is sleeping / And his wife is free ...." That was the limbo could not be otherwise.

Minutes before the end of the disco-"Who by Fire"- fell exhausted and knew no more. When I awoke, I sensed what happened: I had to face, face to face, black pessimism surrounded by flowers. And had gone very badly. God! Who had done that? "Leonard Cohen" I reread. "I shall remember that name."

And so it happened. As we remember our "first" in many things, I could never forget the man who had shown me the end of innocence. Categorically, brutal. Thus, simply with a guitar and voice. That is, the fire.

Moscow, 2010

Given **** So, when that morning in late August saw the departure of Metro 's gigantografía Novokuznetskaya the photo of Leonard Cohen stopped abruptly, ignoring the countless frantic pedestrians walking to work. The picture showed him with the black hat with which he has been seen in recent years and facing a microphone. There were letters in Cyrillic that allowed me to infer that it was his name and others who said Oct. 7. After that, a seizure of "intelligence" shook my head: "COME LEONARD COHEN! Leonard Cohen in Moscow! As my sainted mother! Gloria who reigns on high! Thank you, Lord, please be granted! "

From there, I counted the days as if he were a prisoner.

Page 127, Daily Life

14 September. Today I met a big mall where they sell electronics. It is HUGE. There are countless music stores and DVD's. I bought a collection of Phil Collins and 3 Soviet rock records I guess that is the image of the bands eighties. As often happens, the seller did not understand me and I ended up telling the disks with the right index. I think the market is called "Gorbushka", although I could be wrong and still I can hardly associate the majority of Russian words to something that exists in Spanish and let me keep it on hold. This allows me to infer that the vitamins for memory I bought not seem to work, though not often do if I forget to take them. Oh, and Leonard, missing only 23 days. We can do it! Force, mate! That day arrived! To Victoria, forever. "

There are more important things in life, but ...

What should I wear? "Jeans, sneakers, shirt and a thin black jacket? I've never been to a concert in Moscow. How can this be? The Russians are fairly formal is it possible that music clutter? Anyway, Leonard Cohen is not rock, it must be kept in mind. So, yes it is, but a sort of "poetic rock." Another thing: this will be in the State Kremlin Palace. That is very different from a football stadium for the enjoyment of a crowd of fans noise. Get serious. You make it put the name of America in a concert where, surely, there will be many Latinos. Ya. Wear with jeans, iron a shirt and the jacket looks Cotel that gives you something of excellence. And shoes. Shoes: No shoes! Look how very difficult the guards will Kremlin if they happen to make a "Face control". "And where did this?" Is the least we ask. Not that you are going to look very elegant ... but make the effort.

On September 19 a "common year" according to the schedule devised by Pope Gregory XIII wrote to the undersigned (almost gargantuan) mall electronics Media Markt. In the place he bought[iv] CD `s: "Songs from a Room", "Songs of Love and Hate", "New Skin for the Old Ceremony", "Recent Songs", "Various Positions", "The Future", "Field Commander Cohen" and "Live in London" the poet, novelist and Canadian singer Leonard Cohen. Thus, the volumes added to his collection, going to have just over 85% of the official discography of the musician. The subject said that the existing supply had increased in securities which were not months ago. Prices also were higher. Also noticed that the plates were grouped under a Label with the singer's name in Russian, that is, now had a specific category for your material.

Leonard Cohen was already in Moscow ... or almost. That concluded.

"Leonard Cohen: Live at the State Kremlin Palace

His grim view of literature and human relations are spread through the theater wrapped in melodies and instrumental arrangements that probably placed his band as a faithful exponent of what has been agreed to call "musical quality." Everything was perfect, perfect suspiciously. You could see the maturity, the strong combination of characters and talents and endless hours of work. Strangely, all modern and nothing looked anachronistic. Despite this, the imagination, but could not slip past centuries in which the music was a tribute to the gods. There was a certain air of timelessness - immortality? - at that stage. The latter seemed suspended.

Muscovites, on the other hand, there were well aware of that.

Cohen sang ... and loved it. Thus, in addition to strolling through a repertoire that included his first compositions of the late 60's and early 70-is, most of his classics, he also played some of his work this decade, through his famous subjects radios aimed at what is called "young adult."

At this point in the match, Cohen had nothing to lose ... or to prove. A knowledge of being a living legend of popular music, treading familiar ground. With admirable vitality for a man aged 76 was walking through his music, singing to his knees in moments of ecstasy, did some jumping here and there, singing verses to the chorus girls, looking very melancholy and even non-boy spared no praise for the time to introduce your band. Also had the luxury of hinting that evil-demon glare, it would seem, from the time when he conceived one of his hymns more acidic as "First we take Manhattan" the celebrated album "I'm your man" (88).

Amid the darkness of a theater that had no fireworks or inflatable dolls of any kind, could be seen many photo flashes.

The attendees were mostly diehard fans of the singer, which clearly warned listen in English follow the lyrics of the songs, first timidly, but little by little with total ease.

Only the instruments of his art, Leonard Cohen was conquered in less than an hour to Moscow: the end of the first two blocks the public was at the feet of the mysterious and enigmatic Canadian who first visited the Russian capital maybe-not unreasonable predicted, for one last time.

Shortly before going behind the scenes, the interpreter said a few heartfelt words, commenting that he was very happy to be in Moscow, which is something I had wanted for many years.

In the interim, the stairs and halls of the State Kremlin Palace is full. While some were preparing to go to services, others went for a drink or smoke in the areas designated. A dispassionate observer could verify this: the party was good and nobody wanted that money back entrance.

Returning to the stage, Cohen had one of its short-and therefore concluded-white moments of humor. "Thank you all for not having gone ..." he told attendees. Then came an intense flurry of well-known repertoire, including universal and 'Hallelujah', 'Sisters of Mercy', 'So Long, Marianne " and "Take this Waltz", that beautiful song inspired by "Little Viennese Waltz" the book Poet in New York Federico García Lorca (such is the devotion of the septuagenarian artist by prominent Spanish writer who named his daughter Lorca Cohen.)

After more than two hours of concert and closing with "Closing Time" Leonard Cohen had fulfilled his dream of singing in Moscow and his assistants to watch it at home. The standing ovation that took the audience was the finale of a singular performance, especially considering the fact that no child was not included in the original plan of presentations in 2010, but was added in the running for reasons - is the desire of the artist? - not revealed. Cohen and his band were going to follow his route to another country where they would continue their first tour in fifteen years.

On stage, as shown unequivocally a night full of beauty and feelings, lay some flowers left by admirers of the singer, which in the last minutes had risen from their seats to come and enjoy what little remained of the show.

Reaches the end. Cohen disappears into the shadows and the echo of applause and immersed in an unfamiliar place, another space, if one accepts the metaphor. Behind them, the performers of the chorus gathered floral arrangements and full of happiness goodbye.

No one, however, took it badly. On the contrary, concluded that intense session category and virtuosity, the teacher is now fully permitted. All: even the sin of "come back" as they used to say, if before it was the poet who offered flowers ... now it - the legendary "the addressee. Strange is not it?

Vecher Dobry, Leonard Cohen!

[I] Sometimes it is complex to move in a big city as Moscow, whose identificatory obey road signs to a singular logic that can confuse even sometimes the same Moscow

[Ii] That to enjoy the "good food" is not something in my conception of the universe. If I had my pills only ingest food. Also, that sitting at a table to put things in their mouth, strange metal seems so fabulously incomprehensible as that millions of people following a man running trying to strike a "rectangular frame formed by two posts and a rail, for which he has to get the ball or the ball to score so many. "

[Iii] A few days later I looked the letter on the Internet and found this: "The Germans were at my house / I was told to identify / But I have no fear / I will return to arms / I've changed names a hundred times / I've lost my wife and my children ... But I have some friends. "

[Iv] To acquire music in Moscow is quite cheap and can be found deluxe editions (really fancy) but at higher prices and probably will not reach the bulk of the population. However, music-and good-there and very cheap.

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