2009 Summer Tour - Dublin, Ireland; Belfast, Northern Ireland; Lisbon, Portugal; Léon, Spain; Venice, Italy

Tour Reviews and Other Memories from
LEONARD COHEN WORLD TOUR Summer 2009

July 19, 20, 22 & 23, 2009
Dublin, Ireland
O2

Set List for July 19
Set List for July 20
Set List for July 22
Set List for July 23
Irish Times reivew & photo
Independent reivew
Independent reivew
State Magazine reivew
Fan reports
Youtube

July 26, 2009
Belfast, Northern Ireland
Odyssey

Set List for July 26
Belfast Telegraph reivew
Youtube

July 30, 2009
Lisbon, Portugal
Atlântico Arena

Set List for July 30
Diário de Notícias reivew
Diário IOL reivew & photo
Destak reivew
Correio da manhã reivew
Youtube

July 31, 2009
Léon, Spain
Léon Arena

Set List for July 31
La Crónica de León reivew
Leonoticias reivew & photos
European Pressphoto Agency reivew
El País reivew
Lne.es reivew
La Crónica de León reivew
Público reivew
Diario de León reivew
Diario de León reivew
El País reivew & photo
Youtube

August 3, 2009
Venice, Italy
St Marks Square

Set List for August 3
Il Giornale reivew
Youtube

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Weybridge, UK
Liverpool, UK
Langesund, Norway
Molde, Norway

Next Page
Istanbul, Turkey
Palma de Mallorca, Spain
Vigo, Spain
Girona, Spain

Dublin, Ireland

Set List - July 19, 2009

Per tinderella on The Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
Chelsea Hotel
Waiting For the Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
The Partisan
Boogie Street
Hallelujah
I'm Your Man
A Thousand Kisses Deep
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
Whither Thou Goest

Dublin, Ireland

Set List - July 20, 2009

Per IrishMar on The Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
That Don't Make It Junk
Waiting For the Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
The Partisan
Boogie Street
Hallelujah
I'm Your Man
A Thousand Kisses Deep
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
Whither Thou Goest

Dublin, Ireland

Set List - July 22, 2009

Per IrishMar on The Leonard Cohen Forum

Dublin, Ireland

Set List - July 23, 2009

Per call the shots on The Leonard Cohen Forum

Dublin, Ireland

Review

Irish Times - July 21, 2009 by Tony Clayton-Lea (Photograph: Dave Meehan)

WHEN LOU Reed – another master of life’s troubles and woes – inducted Leonard Cohen into the Rock and Roll Hall of Fame last year, he said: “We’re so lucky to be alive at the same time Leonard Cohen is.”

It’s a good point, because there are very few music artists of Cohen’s age and status left by which to remind us that we are slipping out of the Golden Age of Popular Music into muddied waters of no small depth.

This is not to say, by any means, that there isn’t a wealth of brilliant new music around; it’s just that Cohen – unlike, say, Bob Dylan – appears to have no interest in deconstructing the blueprint or redefining the mythology.

He doesn’t mess around – his early material (some would say his best-loved, which has earned him the indelible title of The Bard of Bedsit) such as Suzanne , Sisters of Mercy and So Long Marianne has aged much better than those of most of his contemporaries because the work originally existed outside the usual parameters of folk rock.

Some 40 years ago Cohen was no musician scrabbling around for words to fit tunes; he was (and, arguably, still is) a poet, whose exacting, precise and subtle output was high on quality and low on ego.

More than 40 years on, and the song (as well as the casually strewn philosophy and the lugubrious baritone) remains the same – still as simplistic, sombre and sensual, yet also strangely, magnetically comforting.

Forced back into touring in order to stave off the onset of dire financial problems (caused by a period of mismanagement), there is, perhaps, a sense of lack of enthusiasm.

But only a sense – it flits in and out of the set like an aural aurora borealis, and before you know what has happened, you’ve slipped into the refined swing of things and you’re stuck there until the song finishes. The dignity, poise and graciousness of the enterprise impresses almost as much as the music, which is dressed up – like the musicians, singers and the occasional roadie – in a sharp suit and an optional smart hat.

Are there some tickets left? Yes, there are, so do yourself a favour.

Dublin, Ireland

Review: Leonard Cohen

Independent - July 22, 2009 by Eamon Sweeney

A VOICE like gravelly velvet, a backing band of peerless performers, one of the best songbooks in musical history and nearly three hours of immaculately executed sonic poetry. It really doesn't get any better than this.

Gently kicking off at 8pm sharp, Cohen (pictured right on stage at the O2) has the inimitable chiselled looks of a bona fide legend as opposed to the tiresome treadmill of limelight-hogging celebs that normally parade their tawdry wares on this stage.

Opening with 'Dance Me to the End of Love', the O2's acoustics are impeccably co-operative, even though the slightly out-of-synch screens are not. His 74 years have matured and improved his remarkable voice, illustrated with stunning starkness with 'Who By Fire', a far superior rendition to the original studio version.

The audience's mood in the first half of the show is reverential and hushed, but as the second half progresses, the buzzing euphoria is so contagious and electric the O2 could collapse with happiness.

"It's a privilege to be gathered here when the world is full of chaos, uncertainty and devastation," Cohen delightfully notes.

I've never witnessed as many standing ovations at any show.

Highlights come thick and fast. 'Hallelujah' is gloriously reclaimed from the slew of awful cover versions. I simply cannot name another break-up song as exhilarating and life affirming as 'So Long, Marianne'. This is exactly what Lou Reed was getting at when he said Cohen was among the highest and most influential echelon of songwriters.

The parting glass is suitably touching, warm and big-hearted. Surrounded by his band, he names and thanks everyone involved, right down to the bus driver. Cohen hopes we're surrounded by friends and family or else happy in our solitude. We shuffle out towards the exits, elated, uplifted and thrilled to be alive. This is live music at its most pure, elemental and thrilling.

Having not had the pleasure of attending last year's rapturously received shows in Kilmainham, I cannot make any direct comparisons. But after witnessing how highly Cohen raises the bar, he could play the public toilets in Busaras and it would still be mesmerising.

Dublin, Ireland

Review of the week: Leonard Cohen * * * *

Independent - July 24, 2009 by Ed Power

Leonard Cohen dashes from the wings, if not spryly then with more vigour than you expect of pop's 74-year-old laureate of angst, and plunges into Dance Me To The End of Love, his distinctive half-spoken croon brimming with wisdom, wit and bittersweet humour. Wearing a tilted fedora and a priest-like black ensemble, his features creased like faded parchment, Cohen cuts an elusive figure. His lyrics are often devastatingly bleak, yet his interaction with his sprawling band is playful (he's forever going down on bended knee), his few asides to the crowd imbued with grandfatherly charm.

He is in Dublin for the first date of an astonishing four-night stand (after which he skips up to Belfast) and, while you could slice through the air of reverence in the room with a knife, he still seems determined to win over fan and agnostic alike.

Flanked by a virtuosic eight-piece (including his songwriting partner Sharon Robinson and veteran Spanish guitarist Javier Mas), Cohen proceeds gracefully through a greatest hits set, moving from the Nick Cave-esque judder of Everybody Knows to the elegiac quasi-gospel In My Secret Life to the hymnal pathos of Hallelujah (a song desecrated so often Cohen has actually issued a public plea that fellow artists stop covering it).

Though the arrangements are immaculate, soul-sapping slickness never sets in, partly because Cohen himself is such an unusual performer, a raven-like presence who hovers over the music even when his players take centre stage during many of the instrumental breaks.

A technical hitch means that, watched on the giant video monitors, Cohen's voice is out of synch and it looks as if he is miming. However, the illusion is shattered when you fix your gaze on the stage.

Weathered by time and experience, his voice has become a rich, chocolatey rumble, heavy with ennui yet also full of gentlemanly insouciance (even in old age, there is something of the faded playboy about the Canadian). Multiple encores bring the audience to its feet and Cohen, who made a lucrative return to touring several years ago after discovering he'd been fleeced by a manager, appears genuinely touched by the love. In the end, it's the cynics who always care the most.

Dublin, Ireland

Leonard Cohen, The O2, Dublin

State Magazine - July 24, 2009 by Dave Roberts

The last time this reviewer saw this much Leonard Cohen music, it was a pain in the arse, literally. The contrast between the old Point Depot that night during an often inspiring three and a half hour marathon tribute set (that resulted in a numb posterior) with the wonderful layout in the new O2 could not have been greater. Hard seats and dubious sight lines have been replaced by an awe-inspiring fully-seated comfortable amphitheatre with precision sound (perhaps not loud enough in the Mars seats) and a sense that finally, here is a purpose built venue where you can shell out top dollar and feel like it’s worth it.

It helps of course that in front of us is an artist who can lay claim to a lifetime’s songwriting catalogue comparable to that of Springsteen, Dylan, Young and Waits. And with Cohen the contradictions and contrasts could not be greater. The first half (act?) a slick, smooth performance (in contract to fellow Canadian Neil Young’s jagged, eclectric, forceful performance at the same venue) was underpinned by his wry sexual one liners, a spiritual songwriter with a lived in insight not bound by religious paranoia or repression. Whatever about his great band (more on them later), it’s Cohen’s soulful delivery and transcendental lyrics that steal the show. Even amongst his contemporaries it’s hard not to think that lyrically Cohen is the king, effortlessly weaving poetry into his stories and an unworldly command of the English language. And the band, well, bandurria player Javier Mas comes close to stealing the show a number of times, a humble yet graceful player, there’s no attempt to do anything except give life to Cohen’s incredible songs. At one point during his solo spot, the venue is his as he glides and plucks his away around a fretboard making a nylon sound that has us all (including Len) spellbound. The Webb sisters and Sharon Robinson provide exemplary (often astonishing) soulful backing but some of the arrangements have become bland in their slickness and the showboating from Dino Soldo around the saxaphone solo’s (the one flaw in the show) is as discomforting and banal as Cohen is exciting and graceful.

When Cohen comes out after the break, he ditches the band for a pared down ‘Tower Of Song’ and tower it does, “I said to Hank Williams: how lonely does it get? Hank Williams hasn’t answered yet” sends a shiver up the spine. ‘Suzanne’ draws a huge intake of breath and ‘Hallalujah’ is simply astonishing, slaughtering the notion that any of the ‘Nobody’s Got Talent’ contestants will ever touch the heights of the great songwriters or are anything more than a temporary fix in a broken, vapid, ultimatley meaningless celebrity culture. ‘If It Be Your Will’ is another moment, Cohen leaving the spotlight before the Webb Sisters astonishingly take the song higher. ‘A Thousand Kisses Deep’ then resulted in weeping in the isles.

Seeing 10,000 people rise to their feet to applaud the most gracious performer on the planet, one can't help be moved that a mortal songwriter can inspire so much love from an audience. There’s a great moment going on in modern culture right now with Neil Young, Springsteen and Leonard Cohen offering more insight, spirituality and wisdom than any church made of stone ever could.That moment won’t last forever, revel in it whilst you can and if you havent caught Cohen yet, do so.

Dublin, Ireland

Blogs and Other Fan Reports

Blog - "Bock the Robber" - "Leonard Cohen in Dublin 2009"
I wasn’t sure what to expect from last night. Would he live up to last year’s masterpiece? Would it be better to remember him at the height of his powers? Welll, I’ll tell you what: he didn’t just live up to it. He got better and there’s no sign of him stopping...

Blog - "Science, society, stuff..." - "Leonard Cohen at the O2"
Cohen’s voice is as steady and as strong as ever. He hit every note and although, of course, he has a very different and less energetic show than Britney Spears (or so I am told), there was plenty of energy coming off the stage...

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

Belfast, Northern Ireland

Set List - July 26, 2009

Per table top joe on The Leonard Cohen Forum

Belfast, Northern Ireland

Belfast says a mighty hallelujah for Cohen

Belfast Telegraph - July 27, 2009 by Shane Donaghey

George Michael turned it into a disco, Kylie into a party, Bruce into the best night in a bar ever.

Last night Leonard Cohen and his Unified Heart Touring Company turned the soulless barn of Belfast’s Odyssey into the best cafe in Europe, one of those all-night bars in Paris known to the few.

Of course, when you get a standing ovation before you’ve a note growled out then you’re among friends.

Those who don’t get Cohen miss a treat. Yes there are the songs of loss and loneliness, but leavened with a wit drier than a drought in the sahara.

And songs of love among the greatest ever written.

Kicking off to Dance Me To the End of Love a near-full house of mainly middle-aged reliving the bedsit years moved with every note. And clung on to every word. It was almost a revivalist meeting and not just because he spent a lot of time kneeling on the carpet.

With a perfect band a special mention must go to the backing trio of Cohen collaborator and lover Sharon Robinson and sisters Patti and Charley Webb.

And how could you not love a man who writes, “I fought against the bottle, but I had to do it drunk”.

Hallelujah won a deserving standing ovation and a place in hell for Simon Cowell, while you haven’t lived until you’ve seen a 74-year-old man seduce every woman in the audience during I’m Your Man.

It’s a bad world out there. Cohen provides a soundtrack to understand it. Genius.

Lisbon, Portugal

Set List - July 30, 2009

Per burningviolin on The Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
Waiting For the Miracle
Anthem

Second Set

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

Encores

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

Lisbon, Portugal

ENGLISH VERSION.

A voz que não veio a Lisboapara enganar ninguém

Diário de Notícias - August 1, 2009 by Nuno Galopim

Leonard Cohen encheu o Pavilhão Atlântico num regresso a Lisboa que terminou em apoteose com aplausos em pé.

Leonard Cohen ia a meio de Hallelujah, um dos clássicos maiores da sua obra, quando, num jogo de ginástica poética, colocava a cidade que o acolhia na letra da canção: "I didn't come all the way to Lisboa to fool you" (que é como quem diz, "não vim todo este caminho até Lisboa para vos enganar")... E falou verdade. É sabido que foi uma causa não musical a ditar a necessidade de regressar aos palcos. Mas no magnífico concerto que levou 12 mil admiradores a encher o Pavilhão Atlântico, em nenhum momento se sentiu que em palco havia alguém a cumprir calendário. Pelo contrário ali estava um homem empenhado em dar o melhor, em satisfazer os que frequentemente irrompiam do silêncio para o aplaudir em pé, em manter vivas histórias e canções que, como poucas, figuram entre as melhores da história da canção popular.

Mal chegou ao palco levantou o chapéu para, como qualquer homem educado, responder aos milhares que imediatamente notaram a sua presença em cena. Acenou num gesto de agradecimento, sorrindo.

Uma voz espantosamente ainda segura, capaz de aprofundar nos seus graves a intensidade das palavras que escreve, lançou-se sem pressas por um alinhamento longo pelo qual desfilaram canções incontornáveis desde os dias de Sisters Of Mercy ao mais recente s de Closing Time, passando por clássicos como Bird On The Wire, Dance Me To The End Of Love, I'm Your Man ou First We Take Manhattan. Esta última, já em tempo de encores, assistiu a uma tranquila invasão do espaço entre a plateia e o palco, aproximando da voz e figura de Cohen uma multidão que assim fazia questão de, mais que ser vista, o ver bem... e de bem perto.

Sem fugir às rotinas de uma digressão onde nada falha, Cohen soube mesmo assim colocar breves traços da sua relação com a cidade e o momento que vivia numa noite que se fez emotiva de ambos os lados do palco. Com ironia, cantava os primeiros versos de I Tried To Leave You, que então pareciam dizer que tentara sair do palco, mas acabara forçado a regressar pelo som dos aplausos. E cedeu depois protagonismo a cada um dos elementos da banda que o acompanhava, eles em solos, elas juntando a voz.

Não era a primeira vez que Cohen lhes cedia a linha da frente. Sharon Robinson (sua parceira criativa) já cantara Boogie Street. E as Webb Sisters tinham reinventado If It Be Your Will em belíssima abordagem folk. Em ambos os casos, tal como quando apresentou os músicos, Cohen voltava a tirar o chapéu, curvando-se humildemente, agradecendo aos que consigo partilhavam o palco.

Um ano depois de uma noite de música ao relento, o regresso voltou a juntar milhares, todas as gerações representadas nos lugares sentados da sala. Diz-se que terá sido a última visita a Lisboa. Mas, se regressar, será bem-vindo!

Translated by Google Translate

The voice that has not fool anyone Lisboapara

Diário de Notícias - August 1, 2009 by Nuno Galopim

Leonard Cohen filled the Atlantic Pavilion in Lisbon to return ending apotheosis with standing applause.

Leonard Cohen Hallelujah was the middle of one of the greatest classics of his work when, in a game of poetic gymnastics, put the city that received the letter of the song: "I did not come all the way to Lisbon to fool you" (which is like those who say, "did not come all this way to Lisbon to deceive you ")... And he spoke truth. It is known that music was not an issue to dictate the need to return to the stage. But in the magnificent concert that took 12 thousand fans to fill the Atlantic Pavilion, at no time felt that there was someone on stage to meet schedule. Rather there was a man committed to the best in the meet that often poured from the silence to applaud in the foot, keeping alive in stories and songs, as few, are among the best in the history of popular song.

Mal reached the stage lifted the hat, like any gentleman, meet the thousands who immediately noticed his presence on the scene. Waved in a gesture of thanks, smiling.

A voice amazingly still safe, able to deepen their severe intensity of the words you type, without haste is launched by a matching long parade in which inescapable songs since the days of the Sisters Of Mercy s latest of Closing Time, through classics such as Bird On The Wire, Dance Me To The End Of Love, I'm Your Man or First We Take Manhattan. The latter, as in time of Encore, attended a peaceful invasion of the space between audience and stage, bringing the voice and picture of Cohen as a crowd that was in question, more to be seen, the view and ... and very close.

Without escaping the routines of a tour where nothing fails, Cohen knew that place well short traces of their relationship with the city and now living on a night that was emotional on both sides of the stage. With irony, sang the first verse of I Tried To Leave You, who then tried to say that seemed out of the stage, but had just forced to return by the sound of applause. And then gave prominence to each of the elements of the band that accompanied them in soil, adding to them voice.

It was not the first time that Cohen waived them to the forefront. Sharon Robinson (his creative partner) already Cantara Street Boogie. And had reinvented Webb Sisters If It Be Your Will in beautiful folk approach. In both cases, as when he presented the musicians, Cohen returned to get the hat, bending it humbly, thanking those who shared the stage with.

One year after a night of music to the damp, return again join thousands, all generations represented in the seating room. It is said that it was the last visit to Lisbon. But if return will be welcome!

Lisbon, Portugal

ENGLISH VERSION.

Atlântico tira o chapéu a Leonard Cohen

Diário IOL - July 31, 2009 by Manuela Micael

Onde estão os 74 anos do músico canadiano?

O Pavilhão Atlântico rendeu-se, esta quinta-feira à noite, aos pés de Leonard Cohen. Numa sala praticamente esgotada, o músico e compositor canadiano desfiou os mais conhecidos êxitos da carreira. O público correspondeu, cantou com ele e aplaudiu de pé.

Quem pensar que os 74 anos de Cohen já pesam, desengane-se! O espectáculo durou quase três horas e Leonard Cohen nunca desarmou. Mostrou que a voz quente ainda está para durar e que ainda tem unhas que tocam guitarra. Resumindo, Leonard Cohen mostrou aos fãs do Atlântico porque é que ainda pode dizer: «I'm Your Man».

«Dance Me To The End Of Love» teve honras de abertura, pouco passava das 21h00. Depois, foram quase três horas de êxitos (eram praticamente 00h00 quando o espectáculo terminou), que atravessaram décadas. Um espectáculo transversal, tal como o público que assistia, cujas idades iam dos vintes aos sessentas. Uns e outros trautearam temas como «I¿m Your Man», «Sisters of Mercy», «Suzanne» ou o mítico «Hallelujah».

Cohen repetiu várias vezes o agrado por tocar em Portugal e reforçou que, «numa altura em que tantos sofrem, é uma honra tocar num lugar pacífico». Antes de se despedir, com «I Tried to Leave You», pediu para sermos «gentis» e desejou: «se caírem, caiam para o lado certo da sorte».

No longo espectáculo, Leonard Cohen sempre mostrou grande respeito pelo público - tirou sempre o chapéu (imagem de marca do músico) para agradecer os aplausos - e pelos músicos que o acompanharam - por duas vezes os apresentou e por duas vezes os presenteou com vénias. Sempre que houve um solo de um dos músicos ou das vozes que o acompanharam, fez questão de se retirar das luzes dos holofotes e tirar o chapéu. Ouviu-os de olhos fechados, com notória emoção.

Além da energia que ainda se traduz na voz quente com que Leonard Cohen sempre nos habituou, o público do Atlântico pôde vê-lo brilhar nas teclas e na guitarra. Não se fez rogado nos encores e vê-se que Cohen ainda canta com muito prazer. Saiu sempre do palco aos saltos, como se fosse uma criança. Onde estão os 74 anos, Leonard Cohen?!

Translated by Google Translate

Atlantic takes the hat to Leonard Cohen

Diário IOL - July 31, 2009 by Manuela Micael

Where are the 74 years of Canadian musician?

The Atlantic Pavilion gave up, this Thursday night at the foot of Leonard Cohen. In a room virtually exhausted, the Canadian musician and composer best known challenge the success of their career. The public responded, sang and applauded him up.

Who thought that 74 years from now weigh Cohen, disappoint! The show lasted almost three hours and Leonard Cohen never disarmed. Showed that the voice is still hot to last and still has nails to play guitar. In short, Leonard Cohen showed the fans why the Atlantic can still say: 'I'm Your Man'.

"Dance Me To The End Of Love" had the opening honors, just going from 21.00. Then, they were almost three hours of successes (they were almost 00.00 when the show ended), which crossed decades. Show a cross, as the public who attended, whose ages ranged from twenty to sixty. Some trautearam and other topics such as' I ¿m Your Man ',' Sisters of Mercy ',' Suzanne 'and the mythical' Hallelujah'.

Cohen repeated several times the pleasure to play in Portugal and stressed that, 'at a time when so many suffer, is an honor to play in a peaceful place. Before you say goodbye, with "I Tried to Leave You", asked to be 'gentle' and wanted 'is fall, fall to the right side of luck.

In the long show, Leonard Cohen always showed great respect for the public - always get the hat (image of the musician) to thank the applause - and the musicians that followed - twice the presented and twice presented with the vénias. Where there was a land of musicians and the voices that followed, he sought to withdraw from the spotlight of lights and take the hat. He heard them with my eyes closed, with evident emotion.

Besides the energy that is reflected in the still warm voice with which Leonard Cohen always accustomed to the public of the Atlantic could see him shine on the keys and guitar. Assignment has not been in yet and there is still that Cohen sings with great pleasure. Always left the stage to jump, like a child. Where are those 74 years, Leonard Cohen?

Lisbon, Portugal

ENGLISH VERSION.

«Leonard Cohen és o nosso homem»

Destak - July 31, 2009 by João Tomé

Chama-se Leonard Cohen, inspirou músicos, letristas, poetas e meros apreciadores de música ao longo de várias gerações e esta noite a sua voz única inundou de sorrisos um Pavilhão Atlântico quase lotado. Despediu-se a dizer desejando o «mais difícil», «sejam bondosos».

A voz inimitável, grave como poucas e muito melodiosa. Os poemas inspirados e que tocam as profundezas humanas. A boa música tocada e cantada por uma banda de excepção – que incluiu uma colaboradora em algumas letras, de timbre notável. O senhor Coen, anfitrião da casa que é a sua voz, tornou a noite de 30 de Julho de 2009 especial para os 12 mil espectadores que estiveram no Atlântico.

Dono de um charme que parece em vias de extinção e de uma entrega a cada canção como se fosse a última, Leonard Cohen cantou, tocou, dançou, ajoelhou-se e fez ainda uma oração muito especial. O senhor Cohen, quando canta, fá-lo para cada um de nós. Mesmo num local com tantas pessoas.

Em palco, o homem que criou álbuns como Songs of Love and Hate, Death of a Ladies' Man e I'm Your Man ainda sorriu, agradeceu ao público, «demasiado amáveis», alterou a letra de uma canção para colocar a palavra «Lisboa» e ainda fez questão de apresentar a sua banda de amigos (com CV’s incluídos) duas vezes.

Por entre espanhóis, canadianos, holandeses e, claro, muitos portugueses, os seguidores desta espécie de religião Leonard Cohen vibraram mais com três belos momentos em três belas canções. Tower of Song foi o primeiro auge da noite. A mais energética e famosa (até pela cover de Jeff Buckley) canção/hino, Hallelujah, tornou-se no momento mais especial deste concerto de quase três horas (com um intervalo simpático pelo meio). Memorável e perfeita foi ainda a interpretação de I’m Your Man, durante a qual um convidado da casa Cohen gritou acertadamente: «és o nosso homem».

Para o final difícil era estar-se sentado tal era a energia e a inspiração que fluía pelo “lar” onde Leonard Cohen nos acolheu – ele no palco, nós, público, nas bancadas. A partir de Hallelujah não faltaram as ovações de pé, interacções alegres com a banda e até flores para o senhor Cohen que não se coibiu de desejar a todos um «bom ano ao lado dos amigos e da família».

Em alguns seres humanos o talento é como um bom vinho, fica apurado com a idade. Leonard Cohen, canadiano que cumpre em Setembro 75 anos, é o exemplo claro de que a velhice não tem de ser o caminho para a perda de capacidades, mas pode ser o continuar do auge. Esta noite, em Lisboa, viu-se e acima de tudo sentiu-se o auge.

Translated by Google Translate

"Leonard Cohen're our man"

Destak - July 31, 2009 by João Tomé

His name is Leonard Cohen, inspired musicians, lyricists, poets and just enjoy music over several generations and tonight her voice flooded only a smile to the Atlantic Pavilion almost full. To say farewell to desiring the 'more difficult', 'be kind'.

The inimitable voice, and very few serious as melodic. The poems that inspired and touched the deep human. Good music played and sung by a band of exception - which included a collaborator on some letters of remarkable timbre. Mr. Coen, host of the house that is his voice, made the night of July 30, 2009 Special to the 12 thousand spectators who were in the Atlantic.

Owner of a charm that seems endangered and the delivery of each song as if it were the last, Leonard Cohen sang, played, danced, knelt down and still has a very special prayer. Mr. Cohen, when you sing, you do it for each one of us. Even in a place with so many people.

On stage, the man who created albums such as Songs of Love and Hate, Death of a Ladies' Man I'm Your Man and even smiled, thanked the public, 'too friendly', changed the lyrics of a song to put the word ' Lisbon "and wished to submit his band of friends (with CV's included) twice.

Among Spaniards, Canadians, Dutch and, of course, many Portuguese, the followers of this kind of religion Leonard Cohen vibrate with three more beautiful moments in three beautiful songs. Tower of Song is the first climax of the night. The most famous and energy (up from the Jeff Buckley cover) song / hymn, Hallelujah, it became more special at this concert of nearly three hours (with a nice break in between). Memorable and perfect yet the interpretation of I'm Your Man, during which a guest of the house Cohen rightly shouted: "you are our man."

In the end it was difficult to sit up it was the energy and inspiration that fluía the "home" where Leonard Cohen welcomed in - he on the stage, we in public, in the stands. From Hallelujah not missed the ovações up, happy interactions with the band and even flowers for Mr Cohen not want to refrain from all a 'good year next to the friends and family.

In some people the talent is like a good wine, is found with age. Leonard Cohen, Canadian satisfying 75 years in September, is the clear example of that old age need not be the way to the loss of capacity, but may continue to be the peak. Tonight, in Lisbon, was and above all felt the boom.

Lisbon, Portugal

ENGLISH VERSION.

Doze mil ao som de Leonard Cohen

Correio da manhã - July 31, 2009 by Luís Murteira Nunes

O canadiano Leonard Cohen não desiludiu os cerca de 12 mil fãs na sua actuação de ontem, no Pavilhão Atlântico, Lisboa. Às 21h10, Cohen subiu ao palco juntamente com os seus músicos. A elegância, em fato preto e chapéu, acompanha o veterano enquanto este agradece calorosamente os aplausos da recepção.

‘Dance Me To The End Of Love’ iniciou um concerto, que, ao longo de três horas, apresentou temas que atravessaram décadas. O público, na sua maioria com idades entre os 30 e os 60 anos, mostrou-se sempre pronto a trautear êxitos como ‘I’m Your Man’ ou ‘Hallelujah’. O septuagenário mostrou que, apesar da idade, mantém a mesma energia e a voz inconfundível que, desde 1967, transmite palavras amarguradas sobre o amor, o poder e a religião.

Cohen suplantou-se com uma actuação brilhante, tratando sempre por seus amigos os que assistiram e os que o acompanharam em palco. 'É uma grande honra tocar para vocês. Obrigado por me convidarem novamente para vir a Lisboa', disse o artista.

O alinhamento composto por alguns dos melhores temas dos seus 11 álbuns de inéditos contou com ‘Sisters of Mercy’, ‘Suzanne’, ‘I’m Your Man’, mas foi ‘Hallelujah’ que arrancou os maiores aplausos e provocou a maior euforia na plateia. Gravada originalmente em 1984 para o álbum ‘Various Positions’, a canção já teve inúmeras versões cantadas por diversos artistas de todo o Mundo.

Este pode ter sido o último concerto de Cohen no País, sendo que esta sua digressão se deve a Kelley Lynch, a sua antiga agente, que, alegadamente, lhe terá roubado cinco milhões de dólares (cerca de 3,5 milhões de euros), em 2005.

Translated by Google Translate

Twelve thousand the sound of Leonard Cohen

Correio da manhã - July 31, 2009 by Luís Murteira Nunes

The Canadian Leonard Cohen not disappointed about the 12 thousand fans in its action yesterday, the Atlantic Pavilion, Lisbon. At 21:10, Cohen took the stage together with his musicians. The elegance in black suit and hat, accompanying the veteran while he appreciates the warm reception of applause.

'Dance Me To The End Of Love' has a concert that, over three hours, showed that subjects crossed decades. The audience, mostly aged between 30 and 60 years, was always ready to trautear hits like 'I'm Your Man' or 'Hallelujah'. The septuagenarian has shown that despite age, maintains the same energy and that unmistakable voice, since 1967, delivers bitter words about love, power and religion.

Cohen supplanted with a brilliant performance, by always treating her friends who attended and those who followed on stage. 'It is a great honor playing for you. Thank you for inviting me again to come to Lisbon, 'said the artist.

The alignment consists of some of the best themes of his 11 albums of unreleased had 'Sisters of Mercy', 'Suzanne', 'I'm Your Man,' but was' Hallelujah 'that started the biggest applause and caused the largest in the euphoria audience. Originally recorded in 1984 for the album 'Various Positions', the song has many versions sung by different artists from around the world.

This may have been the last concert of Cohen in the country, and this is due to their tour Kelley Lynch, his former agent, who was alleged to have stolen him five million dollars (about 3.5 million), in 2005. Luís Nunes Murteira

Léon, Spain

Set List - July 31, 2009

Per Chema on The Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Ain't No Cure For Love
Bird On The Wire
Everybody Knows
In My Secret Life
Who By Fire
Heart With No Companion
Waiting For the Miracle
Anthem

Second Set

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

Encores

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

Léon, Spain

ENGLISH VERSION.

Leonard Cohen encandila a los leoneses

La Crónica de León - July 31, 2009 by F. Fernández

Leonard Cohen no llenó la plaza de toros de León pero sí convenció a quienes ya iban entregados

Bajaban hacia la plaza de toros riadas de leoneses variopintos. Más puretas que jóvenes, bien es cierto, pero algunos padres llevaban a los hijos con gancho.

- No será para tanto.

- El Curro Romero del género pero que está siempre de quitarse el sombrero.

- Por eso canta en la plaza de toros.

- Y porque es grande.

Otros le dan gracias al cielo por asuntos tan curiosos como que la representante haya dejado al mito sin un duro y se haya visto obligado a ponerse en la carretera de nuevo, con más de 70 años, con mil historias a sus espaldas, con un retiro en un monasterio, con drogas, alcohol y mujeres... Y también con una poesía y una paz en su música que nadie le niega que fue y es única. ‘‘Si sirve para que lo podamos volver a ver bienvenido sea’’.

Se iba llenando la plaza. Se llenó la arena, pero no así los tendidos, hubo muchos claros que provocaban algún comentario de desencanto. ‘‘¿Pero la gente de León qué quiere?’’.

‘‘Cincuenta euros para poder venir’’, señala uno que dice que le ha dolido mucho tener que desenbolsar cien, para él y la parienta, ‘‘pero era inevitable, este tren ya no vuelve a pasar nunca, y menos por León’’.

Leonard Cohen cumple con todos los ritos y a las diez y siete minutos ya se apagan las luces y suena la primera ovación cerrada. Unos segundos después ya está en el centro del escenario y comienza a cantar su primera canción (no me manejo con el inglés para esta crónica de urgencia para ponerles el título) y los espectadores que acuden ya se le entregan. Le reciben con una ovación, le interrumpen en las partes más conocidas de la canción, le acompañan con las palmas en determinados momentos y, de nuevo, otra ovación final.

Los comentarios de los más entregados justifican la comparación con el torero. Están atentos, como en el caso de Curro sus fieles, a todo lo que hace, hacia dónde camina, cómo camina, si hace además de quitarse el sombrero.

Él sigue a lo suyo en un espectacular pero sobrio escenario, como sobrio es su traje gris (creo, estaba lejos) y su sombrero oscuro. Un juego de telas y luces en el escenarioayudan a su imagen de poeta. El público reacciona a cada gesto suyo, si acerca a uno de los miembros de la orquesta o el coro surgen los aplausos. Sigue desgranando canciones, en medio de esa tranquilidad casi zen que habrá encontrado en los monasterios y que siempre mantiene en los conciertos.

Tarda en hablar, pasan dos canciones y no lo hace. Hay apuestas a que algo dirá a los leoneses que fueron a arroparle en el primer concierto de su ‘gira benéfica’, como ironizaba uno de los espectadores. ‘‘Benéfica para él, que también le vendrá bien tener una jubilación tranquila después de tantos años rodando’’.

Y así, en medio de buena música, tranquilidad y un público entregado fueron pasando las horas. Nos dieron las diez y las once, las doce.... No, no era Sabina, era el gran Leonard Cohen, otro mito que nos regaló su música en el mismo lugar que hace unos meses nos la ofreció su amigo Bob Dylan. Fueron parecidos, ya no están en la cresta de la ola, ya no tienen el mercado fácil a sus pies, pero los mitos, los incombustibles, las leyendas.

Y, como en las buenas tardes de Curro, hubo arte para regalar.

Translated by Google Translate

Leonard Cohen dazzles the Leonese

La Crónica de León - July 31, 2009 by F. Fernández

Leonard Cohen did not meet the bullring of Leon but those already convinced delivered iban

Descended into the arena of flooding Leonese varied. More puretas young, it is true, but some parents took their children with a hook.

- It will be for both.

- El Curro Romero's genre but that is always taking off his hat.

- That's why she sings in the bullring.

- And because it's big.

Others give thanks to heaven for such matters as curious that the representative has left the myth without a hard and has been forced to put on the road again, with more than 70 years, with a thousand stories on their backs, with a retreat in a monastery, with drugs, alcohol and women ... And also with poetry and peace in their music that no one denies that was and is unique. Serves to''If we can see again is welcome.''

Was filling the square. Filled the arena, but not overhead, it was clear that many of the disenchantment provoked comment. But''the people of Leon what he wants?''.

Fifty euros to be able to''come'', said one who said he was sorry to have to much desenbolsar hundred, for himself and the relative,''but it was inevitable, because this train does not ever happen again, least of Leon ' '.

Leonard Cohen meets all the rites and seventeen minutes and turn off the lights and sounds the first ovation closed. A few seconds later, he is at center stage and begins to sing his first song (I did not handle the English for this chronic emergency to bring the title) and the spectators who attend are already delivered. He received a standing ovation, he interrupted in the most popular song, accompanying it with the palms at certain times and, again, one final ovation.

The comments of the more justified given the comparison with the bullfighter. They are attentive, as in the case of Curro his faithful, to all you do, where to walk, how to walk, if you also take off the hat.

He follows his own in a sober but spectacular scenery, as is his sober gray suit (I was away) and dark hat. One set of lights on the cloth and its image escenarioayudan poet. The public reacts to his every gesture, whether on one of the members of the orchestra or the chorus of applause arose. Husking songs still in the midst of this almost Zen calm to be found in monasteries and always kept in the concerts.

Takes to talk, and spend two songs do not. There are bets on something that will say to those who went to clothe Leonese the first concert of his' charity tour ', and ironically one of the spectators. Charity''for him, will also be good to have a quiet retirement after many years shooting.''

And so, in the midst of great music, quiet and a public spending hours were delivered. We were ten and eleven o'clock, twelve .... No, it was Sabina, was the great Leonard Cohen, another myth that gave us his music in the same place a few months ago we offered her friend Bob Dylan. Were similar, and are not on the crest of the wave, no longer have easy market to its feet, but the myths, noncombustible, legends.

And as in the good afternoon of Curro, art was a gift.

Léon, Spain

ENGLISH VERSION.

Leonard Cohen logra poner en pie a cuatro mil almas en el concierto del León Arena, la primera de sus actuaciones en España

Leonoticias - August 1, 2009 by Luis V. Huerga (Photos by Campillo)

Al poeta y cantante canadiense ofrece a orillas del Bernesga uno de los conciertos más memorables en la ciudad en los últimos tiempos

Eran las diez de la noche. Aún no había oscurecido del todo en León. Por eso, la ‘estrella’ tardó quince minutos más en salir a ofrecer su resplandor. Cuando estaba el cielo más ensombrecido, apareció, para que ninguna luz hiciera sombra. Iluminó a destellos el coso, burladeros y aledaños. Lo hizo todo. Hasta lo más increíble. Hizo silencio.

Leonard Cohen no sólo puso en pie a cuatro mil almas en el León Arena. Las puso a sus pies. Cuatro mil personas no pueden estar calladas todas, sólo cuando Cohen habla, cuando recita, cuando se quita su sombrero. El de este viernes era el primer concierto en España de una gira que este astro ha llevado por todo el mundo y que continuará después de León. Probablemente, la última vez que en el pequeño cielo artificial de un escenario se vuelva a ver su luz.

A sus casi 75 años hizo una esperada aparición dando una carrera escaleras arriba hacia el escenario y, desde lo alto, hasta el centro de la plataforma para saludar a los leoneses y a los cientos de personas que se desplazaron a la orilla del Bernesga desde fuera de la ciudad, de la provincia, de la Comunidad, del país.

Vigoroso. Simpático a su modo. Un poco enclenque. Con una imagen de fragilidad física contradictoria con un espíritu eminentemente sentimental. Hizo suya la música en el concierto de León, la tornó sentimiento y se la lanzó a un público ansioso de Cohen, consciente de que esa podría ser la última vez que iban a escuchar la grave voz del artista.

Esa vez final, iba a ser hace tiempo. Pero a este poeta canadiense de cultura judía y convertido a la filosofía zen, icono norteamericano de una bohemia clásica de sombrero y corbata, las deudas le empujaron a regresar a un escenario que domina igual que domina la palabra. Pero no hay deudas cuando Cohen canta, porque su sentimiento no es del infortunado.

Dando saltitos por el escenario, impropios de su edad y de su apariencia de lasitud, hincó la rodilla al suelo en la Plaza de Toros de León para enfrentarse, cara a cara, a una guitarra, y torear un ‘Dance me to the end of love’, una de sus canciones más populares, y poner a la grada en vilo en un espectáculo de más de dos horas y media de duración.

No defraudó el diestro, que dejó sobre el escenario lo más destacado de la naturaleza de un galán, de un señor, de un caballero. La clase de Leonard Cohen enamoró a quienes no le conocían y asistieron al concierto, y terminó de consagrar en sus corazones a los fans más fieles.

Pocos como él son capaces de reverenciar a sus músicos, excelentes artistas, sombrero en mano. Una leyenda cualquiera de la literatura y de la música no es capaz de abandonar un escenario sin dejar de estar presente, de nuevo sombrero en mano, escuchando con atención los solos de órgano, saxo o guitarra de sus compañeros de escena, ni las apabullantes voces femeninas que le acompañan, en los momentos en los que el turno era de ellas. Y agradeciendo, con una reverencia de ‘gentelman’, la colaboración de sus camaradas. Casi siempre estuvo sobre el escenario. Protagonista a veces, otras no. Pero sólo se quedó vacío cuando él se fue.

A la hora de concierto, una pausa de quince minutos dejó al público a las puertas de lo mejor. De aquella ya habían sonado varias de sus mejores canciones. Pero aún quedaba, por ejemplo, ‘Suzanne’. O ‘Hallelujah’, que puso en pie por enésima vez a una plaza que escuchó de cabo a rabo esa canción sin murmurar, ensimismados. La ovación del respetable duró, incluso, hasta que la siguiente canción había comenzado ya a sonar.

Y García Lorca y el ‘Take this Waltz’ y sorpresa tras sorpresa de un cantante único, de una persona que derrocha una clase que pocos conservan ya. Como él mismo dijo, “sincerely, Leonard Cohen”.

Translated by Google Translate

Leonard Cohen manages to set up to four thousand souls of Leon concert in Arena, its first performances in Spain

Leonoticias - August 1, 2009 by Luis V. Huerga (Photos by Campillo)

Canadian poet and singer offers Bernesga on the shores of one of the most memorable concerts in the city in recent times

They were ten in the evening. Had not dimmed at all in Leon. Therefore, the 'star' took fifteen minutes more to give out its light. When the sky was clouded over, appeared to make no light shade. Flashes lit up the arena to, Burladero and surrounding villages. He did everything. Until quite incredible. Was silence.

Leonard Cohen not only put up to four thousand souls in Leon Arena. Put your feet. Four thousand people can not be silent any, only after Cohen spoke, when recited, when off her hat. On this Friday was the first concert in Spain on a tour that has taken this star around the world and will continue after Leon. Probably the last time in the small artificial sky becomes a scenario to see its light.

In his nearly 75 years made an expected appearance by giving up a career ladder to the stage and, from the top to the center of the platform to greet the Leonese and the hundreds who came to the edge of the outside Bernesga city of the province, the Community of the country.

Vigorous. Sympathetic to their way. A bit sickly. With an image of physical frailty contradicts the spirit eminently sentimental. It endorsed the music in the concert of leon, the feeling and it turned out to a public longing for Cohen, aware that this could be the last time you went to hear the grave voice of the artist.

The final time, it would be some time. But this Canadian poet and Jewish convert to Zen philosophy, an icon of American bohemia classic hat and tie, he pushed the debt back to dominating a scene like that dominates the floor. But there are no debts when Cohen sings, because his feeling is not unfortunate.

Giving jumping across the stage, unfit for their age and appearance of weariness, drive the knee to the floor in the Plaza de Toros de Leon to face, face to face with a guitar, and a bullfighting 'Dance me to the end of love ', one of his most popular songs, and make the grade in the air in a show of more than two hours and a half.

Did not disappoint the matador, who left the scene highlights the nature of a trouser, a gentleman, a gentleman. Leonard Cohen's class who loved and knew him not attending the concert, and finally to consecrate their hearts to the most loyal fans.

Just as he can to honor musicians, fine artists, hat in hand. Either a legend of literature and music is not able to leave a scene without being present, again hat in hand, listening attentively to the single organ, saxophone or guitar scene of his companions, nor appalling voices women who accompany him in the moments where the turn was of them. And thanks, with a reverence for 'gentleman', the collaboration of their comrades. Almost always on stage. Sometimes actor, sometimes not. But it was empty when he left.

For the concert, a pause of fifteen minutes left to the public at the gates of the best. Of that had already rung several of their best songs. But there was, for example, 'Suzanne'. O 'Hallelujah', which put in place for the umpteenth time to a place he had heard of that song out of tail without murmuring, self-absorbed. The ovation lasted from respectable, even until the next song had already begun to ring.

And Garcia Lorca and "Take this Waltz" and surprise after surprise in a single singer, a person pours a little class and keep. As he said, "sincerely, Leonard Cohen."

Léon, Spain

ENGLISH VERSION.

Miles de fieles arropan a Cohen en el primer concierto de su gira por España

European Pressphoto Agency - July 31, 2009

León, 31 jul (EFE).- Alrededor de 4.000 personas han arropado esta noche en la Plaza de Toros de León (norte) al histórico de la música contemporánea Leonard Cohen, que hoy ha comenzado su gira por España, donde tiene previsto dar diez conciertos para presentar su último trabajo "Live in London".

Después de 15 años sin pisar un escenario, el canadiense regresó el año pasado al mundo del espectáculo con una gira internacional que en el caso de España únicamente recaló en Benicàssim (Castellón), donde ofreció un concierto histórico dentro del Festival Internacional que se celebra en esta localidad.

Ahora, un año después, Leonard Cohen ha retornado a España donde tiene previsto ofrecer diez conciertos, el último de ellos el 21 de septiembre en el Palau Sant Jordi de Barcelona.

Pasadas las diez de la noche, el cantante ha hecho acto de presencia en el escenario de la Plaza de Toros de León, transformada en un improvisado teatro, y ante un público entregado que aguardaba ansioso por volver a escucharle.

"Suzanne", "Dance Mi To The End of Love", "Hallelujah" o "First We Take Manhattan" han sido los temas más esperados del concierto por los miles de seguidores del cantante, un público variopinto en lo que a edad se refiere.

Con "Dance me to the end of love", ha dado comienzo éste primer concierto de la gira por España, en el que Cohen ha comparecido, con su ya habitual sombrero, y donde hizo de nuevo alarde de su peculiar voz ronca, con la que fue entonando uno a uno los grandes éxitos que han marcado sus cuarenta años de trayectoria profesional.

Un escenario de más de 250 metros cuadrados (18x14), una potencia de sonido de 100.000 vatios y de luz de 180.000 han servido para acoger a uno de los grandes de la música, según ha detallado hoy a EFE fuentes de la organización.

Antes de empezar su actuación en León, ya cientos de personas, entre asistentes y curiosos, se han agrupado en los alrededores de la Plaza de Toros para poder presenciar lo que constituye un momento histórico para la ciudad, ya que es la primera vez que acoge una actuación del cantautor canadiense, que a sus casi 75 años ha demostrado que sigue estando en forma.

El álbum que llevará por toda esta gira de España, "Live in London", fue grabado en directo en un concierto que dio el año pasado en Londres el 17 de julio y que significó su regreso a los escenarios, según han explicado fuentes de Sony Music.

Translated by Google Translate

Thousands of faithful clothing to Cohen in his first concert tour in Spain

European Pressphoto Agency - July 31, 2009

Leon, July 31 (EFE) .- About 4,000 people have backed this evening at the Plaza de Toros de Leon (north) to the historical contemporary music Leonard Cohen, who today began his tour in Spain, where he plans to give ten concert to present his latest work "Live in London".

After 15 years without stepping on a stage, the Canadian returned to last year's world tour with a show that for mainland Spain only Benicàssim (Castellón), where he gave a historic concert in the International Festival which is held in this locality.

Now, a year later, Leonard Cohen has returned to Spain where he plans to offer ten concerts, the last one on September 21 at the Palau Sant Jordi in Barcelona.

Past ten in the evening, the singer has made involvement in the setting of the Plaza de Toros de Leon, transformed into a makeshift theater, and delivered before an audience that he looked eager to go back to listen.

"Suzanne," "Dance To The End of My Love," "Hallelujah" or "First We Take Manhattan" have been the most anticipated concert by the thousands of followers of the singer, a mixed audience in terms of age referred.

With "Dance me to the end of love", has started his first concert tour of Spain, where Cohen has appeared, with his usual hat, and where he again flaunted his peculiar voice hoarse with the he was singing one by one the great successes that have marked his forty-year career.

A scenario of more than 250 square meters (18x14), a power of 100,000 watts of sound and light 180,000 have served to host one of the greats of music, according to Reuters today has detailed sources of the organization.

Before starting his performance in Leon, and hundreds of people, including attendees and onlookers were clustered around the Plaza de Toros in order to witness what is a historic moment in the city, since it is the first time home performance of a Canadian singer, who almost 75 years has shown that still fit.

The album that will carry throughout the tour of Spain, "Live in London", was recorded live at a concert given last year in London on July 17 and marked his return to the stage, according to sources at Sony have explained Music.

Léon, Spain

ENGLISH VERSION.

Leonard Cohen emociona en León

El País - July 31, 2009 by EFE

Miles de fieles arropan al veterano cantautor en el comienzo de su gira por España para presentar su último disco

Miles de personas arroparon este viernes en la plaza de toros de León al veterano músico Leonard Cohen, que este viernes ha comenzado una gira de diez conciertos por España para presentar su último trabajo, Live in London. Después de 15 años sin pisar un escenario, el canadiense regresó el año pasado a las tablas con un tour internacional que aquí sólo recaló en Benicàssim (Castellón), donde ofreció una histórica actuación en el festival que se celebra cada verano en esta localidad.

Ahora, un año después, Leonard Cohen ha vuelto a España. El cantante hizo acto de presencia con su habitual sombrero pasadas las diez de la noche en una plaza de toros transformada en improvisado teatro y ante un público entregado que aguardaba ansioso para volver a escucharle. El concierto comenzó con Dance me to the end of love, con la que el músico hizo alarde de su peculiar voz ronca, la misma con la que después fue entonando uno a uno los grandes éxitos que han marcado sus 40 años de trayectoria profesional. Suzanne, Dance mi to the end of love, Hallelujah y First we take Manhattan fueron los temas más esperados del concierto por los miles de seguidores del cantante, un público variopinto en lo que a edad se refiere.

Un escenario de más de 250 metros cuadrados, una potencia de 100.000 vatios de sonido y 180.000 de luz sirvieron para acoger a este grande de la música. Antes de empezar su actuación en León, cientos de personas, entre asistentes y curiosos, se agrupaban en los alrededores de la plaza de toros para poder presenciar lo que constituye un momento histórico para la ciudad, ya que es la primera vez que acoge una actuación del cantautor canadiense, que a sus casi 75 años ha demostrado que sigue estando en forma.

A pesar de la expectación generada, Leonard Cohen llegó a León de forma discreta y sin conceder entrevistas. El álbum que llevará por toda esta gira en España, Live in London, fue grabado en directo en un concierto que dio el año pasado en Londres el 17 de julio y que significó su regreso a los escenarios.

Sus siguientes actuaciones serán en Palma de Mallorca el 11 de agosto, el 13 en Vigo, el 15 en Girona, el 12 de septiembre en Madrid, al día siguiente en Granada, el 15 en Zaragoza, el 17 en Bilbao, el 18 de septiembre en Valencia y el 21 en Barcelona.

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Leonard Cohen touched in León

El País - July 31, 2009 by EFE

Thousands of faithful Clothing veteran singer-songwriter at the start of his trip to Spain to present his latest album

Thousands of people tuck this Friday in the bullring of Leon veteran musician Leonard Cohen, who on Friday began a tour of ten concerts in Spain to present his latest work, Live in London. After 15 years without stepping on a stage, Canada last year returned to the tables with an international tour that we just stop at Benicàssim (Castellón), where he gave a historic performance at the festival which is held every summer in this locality.

Now, a year later, Leonard Cohen has returned to Spain. The singer made act of presence with his usual hat past ten at night in a converted bullring in improvisational theater and delivered before an audience that he looked eager to go back to listen. The concert began with Dance me to the end of love, with which the player did show off his distinctive husky voice, with which it was after singing one by one the great successes that have marked his 40 years career. Suzanne, Dance me to the end of love, Hallelujah and First we take Manhattan, were the themes of the most anticipated concert by the thousands of followers of the singer, a diverse audience as far as age is concerned.

A scenario of more than 250 square meters, a power of 100,000 watts of sound and 180,000 light served to accommodate this large of music. Before starting his performance in Leon, hundreds of people, including attendees and onlookers were gathered around the bull ring in order to witness what is a historic moment for the city, as it is the first time hosting an action Canadian singer, who almost 75 years has shown that still fit.

Despite the excitement generated, Leon Leonard Cohen was so discreet and give interviews. The album that will carry throughout the tour in Spain, Live in London, was recorded live at a concert he gave last year in London on July 17 and marked his return to the stage.

Their next performances will be in Palma de Mallorca on August 11, 13 Vigo, 15 in Girona, on September 12 in Madrid the following day in Grenada, 15 in Zaragoza, 17 in Bilbao, the September 18 in Valencia and 21 in Barcelona.

Léon, Spain

ENGLISH VERSION.

El demiurgo generoso

Lne.es - August 3, 2009 by Franco Torre

n Leonard Cohen se entregó a los 4.000 fieles asistentes a su concierto en León

FRANCO TORRE Vaya por delante que Leonard Cohen podría haber salido a la plaza de toros de León con nariz de payaso, vestido de sevillana o con la mano derecha metida en el culo de una marioneta que cantase por él, y el resultado habría sido el mismo: 4.000 fieles rendidos sin ambages al genio de Montreal. Es lo que tiene ser una leyenda. Pero es que, además del mero hecho de «estar», lo que ya era garantía de éxito, Cohen regaló a los asistentes un espectáculo de tres horas que dejó satisfecho a todo el aforo.

El recital empezó poco después de las diez, cuando Cohen se arrodilló junto al guitarrista Javier Mas e invitó a los presentes a bailar con él (hasta el final del amor) siguiendo los acordes trazados con el aragonés, cuya complicidad con el cantante canadiense quedó de manifiesto a lo largo de todo el recital. Acto seguido, Cohen se reconoció como «el pequeño judío que escribió la Biblia» mientras las chicas del coro, las hermanas Webb, daban volteretas para regocijo de respetable.

Las piezas clásicas del repertorio de Cohen fueron apareciendo. Una de ellas, «Everybody knows», se reveló como un sarcástico reflejo de su propia vida, pues todo el mundo sabe las razones que le han llevado de nuevo a la carretera. Deslizándose por el escenario como un pájaro sobre el cable, Cohen, el demiurgo generoso, repartía guiños a su banda como el caballero de un libro pasado de moda. Y no era para menos, dado que el conjunto de virtuosos que ha elegido para cubrirle las espaldas en este regreso triunfal a los escenarios se lució por turnos para permitir al canadiense preservar su más preciado tesoro: esa voz esculpida en espuma de mar que desgrana sentimientos recolectados en las cárceles del alma. A ellos pareció dedicarles los versos de «The partisan», escoltado por la calidez de Sharon Robinson, epicentro del coro que formaba con las Webb: «He cambiado de nombre tan a menudo/ y he perdido a mi esposa e hijos/ pero tengo tantos amigos/ y algunos de ellos están conmigo».

Tras presentar uno por uno a todos los miembros de la banda, Cohen decretó un descanso de 15 minutos. En ese momento, con hora y cuarto de concierto, la gente ya daba por amortizada la entrada. Pero aún quedaba lo mejor.

En la vuelta al ruedo, «Suzanne» esperaba sobre el escenario con sus naranjas de la China. Tras esta pieza, Cohen rememoró sus noches con las Hermanas de la Caridad, antes de arrancar al público un sonoro «¡Aleluya!». La medianoche ya había quedado muy atrás cuando presentó por segunda vez a su banda. Sombrero en mano, comenzando por Javier Mas y finalizando con Roscoe Beck (¡qué gran nombre para un personaje de western! ), Cohen rindió pleitesía, con una exquisita humildad y amabilidad, a todos sus acompañantes, antes de perderse entre bambalinas dando saltitos de adolescente. La banda le siguió, pero en la plaza de toros de León nadie se movió. Hasta tres veces salió Cohen. Finalmente, en un gesto hacia sus músicos, les cedió «I tried to leave you». El reloj marcaba la una.

Translated by Google Translate

The demiurge generous

Lne.es - August 3, 2009 by Franco Torre

No Leonard Cohen was given to the 4,000 faithful attending his concert in Leon

TORRE FRANCO Go ahead to Leonard Cohen might have gone to the bullring of Leon-nosed clown, dressed in Seville or the right hand inside the ass of a puppet to sing for him, and the result would have been the same 4,000 unambiguously rendered faithful to the genius of Montreal. It's what has to be a legend. But is that, besides the mere fact of 'being', which was a guarantee of success, Cohen gave the audience a show three hours of leaving the venue at all satisfied.

The show started shortly after ten, when Cohen knelt next to the guitarist Javier Mas and invited those present to dance with him (until the end of love) by following the line plotted with the Aragonese, whose complicity with the Canadian singer became manifest throughout the recital. Then, Cohen was recognized as "the little Jew who wrote the Bible" while the chorus girls, sisters Webb gave somersaults to the delight of respectable.

The repertoire of classical pieces Cohen appeared. One of them, 'Everybody knows' to be a sarcastic reflection of his own life, because everyone knows the reasons that led him back to the road. Gliding across the stage like a bird on the wire, Cohen, demiurge the generous spread your winks banda as a knight of the old-fashioned book. And it was not for less, since all virtuosos who have chosen to cover the backs in this triumphant return to the stage will shift seemed to allow the Canadian to preserve its most precious treasure: the voice sculpted sea foam husking feelings collected in the prisons of the soul. They seemed to spend the verses of "The partisan, escorted by the warmth of Sharon Robinson, the epicenter of the choir that was to Webb:" I changed my name so often / and I lost my wife and kids / but I have so many friends and some of them are me. "

After introducing one by one to all members of the banda, Cohen ordered a break of 15 minutes. At that time, with time and fourth concert, people had already written off by the entrance. But there was still the best.

In return the ring, "Suzanne" waiting on the stage with their oranges to China. After this piece, Cohen recalled their nights with the Sisters of Charity, before starting to sound a public "Hallelujah!". Midnight was already far behind for the second time when he introduced his band. Hat in hand, starting and ending with Javier Mas Roscoe Beck (what a great name for a western character!), Cohen pleitesía paid, with an exquisite humility and kindness to all his companions, before being lost by jumping from behind the scenes teenager. The banda was followed, but in the bullring of Leon nobody moved. Cohen came up three times. Finally, in a gesture to his musicians, gave them "I tried to leave you." The clock marked the one.

Léon, Spain

ENGLISH VERSION.

Un artista en perfecta comunión con su público

La Crónica de León - August 2, 2009 by L. Castellanos

Leonard Cohen cosechó un notable éxito en el concierto que abrió su gira española en la plaza de toros de León

Dicen que la ruina le ha conducido a la carretera con casi 75 años para hacer acopio de posibles con los que apuntalar su jubilación.No parece este del dinero el tema más apasionante para un monje zen, pero los 150.000 dólares (¡¡¡quien los pillara!!!) que le quedaron tras escurrirle la cuenta corriente su representante parece haberle impulsado a sumirse en el trajín propio de una estrella de la música. 75 años no es una edad muy recomendable para abalanzarse sobre una gira que le tendrá retenido en Europa en los próximos meses, le obligará a trasnochar y le empujará a un continuo sobreesfuerzo.La verdad es que desconozco los consejos que el médico le ha dado a Leonard Cohen para medirse a este periplo por los escenarios, pero sí puedo certificar que, a pesar de su extrema delgadez y un entrañable aspecto de ‘abuelo’, fue capaz de medirse en León a un concierto de tres horas (sin más pausa que los 20 minutos de descanso), 25 canciones y 3 bises, un concierto en el que cantó (con una voz que ya renquea pero que aún conserva su notable expresividad), dio algún que otro brinco, se arrodilló, se levantó, cargó con una guitarra...y jamás se sentó.

La plaza de toros de León no quedó colmada ante la presencia del poeta y músico canadiense. 3.900 almas (datos de la organización) apoquinaron los euros del ala y vivieron una de esas jornadas que a buen seguro la historia de la cultura de la ciudad guardará en su cajita de recuerdos. León no anda precisamente sobrada de visitas de este rango. Un público de edades mayoritariamente reconocibles (pongan de cuarenta para arriba) tensaba la emoción ante la presencia inminente del ídolo y, justo en el momento de su presencia sobre el escenario (a eso de las diez y diez de la noche), le hizo saber que estaba en casa, que le abría el cuarto de estar, el dormitorio y el trastero y que podía usar las sábanas del ajuar.

El concierto no abandonó en ningún momento su guión preestablecido, diseñado hace ya un año en Londres con ocasión del regreso de Cohen a la luz del día artístico. No dejó en la oscuridad ni una sola de esas canciones que todo buen adorador de su figura espera de él. A medida que la actuaciónavanzaba estas llegaban cada vez más hondo y desataban un delirio colectivo difícilmente descriptible. Fue un concierto de emociones, de sentimientos, de sensaciones. De música, también.

Podría hablar de lo escueto que fue Cohen en sus alocuciones al público (apenas se prodigó como orador), de la entidad de toda la banda que le acompañóy con la que estableció líneas profundas de complicidad (6 instrumentistas y 3 cantantes que elevaron el nivel musical del concierto a niveles superlativos), de la puesta en escena que adoptó el canadiense (hay una raíz teatral en todos sus gestos y movimientos), de las cargas de profundidad que fue acumulando la función (al interpretar canciones como ‘The Partisan’, ‘Take This Waltz’ o ‘First We Take Manhattan’)... Sin embargo, me quedo con detalles aparentemente nimios pero provistos de una densidad a la que es difícilmente sustraerse: las lágrimas de una mujer que se acaricia las dos alianzas que lleva en su dedo, el hombre que se arrodilla ante Cohen con una pancarta (nose pudo leer su texto), el beso largo y prolongado de una pareja durante la interpretación de ‘Boogie Street’, un te quiero lanzado a través de un teléfono móvil...

Leonard Cohen ha dejado una huella imborrable a su paso por León. Será difícil olvidarlo. Por cierto, llevaba sombrero...

Translated by Google Translate

An artist in perfect communion with his audience

La Crónica de León - August 2, 2009 by L. Castellanos

Leonard Cohen landed a notable success in the concert that opened his tour in the Spanish bullring Leon

They say that the ruin has led to the road with nearly 75 years to gather with the potential to underpin its jubilación.No seems that the money the most exciting for a Zen monk, but the $ 150,000 (¡¡¡who get!) which were drained after the current account seems to have driven his representative to immerse himself in a busy star in the music. 75 years of age is not recommended for very pounce on a tour that would have kept him in Europe in the coming months, it will force trasnoche and continued to push sobreesfuerzo.La really know is that the advice the doctor gave Leonard Cohen to measure this journey through the stages, but I can attest that, despite their extreme thinness and an endearing aspect of 'grandfather', was able to be measured in Leon concert three hours (without pause that 20 minutes of rest), 25 songs and 3 encores, a concert in which he sang (in a voice that already renquea but still retains its remarkable expressiveness) gave some other jump, knelt, stood up, loaded with a guitar ... and never sat down.

The bullring Leon was not filled in the presence of the Canadian poet and musician. 3900 souls (data organization) apoquinaron euros wing and lived one of those days will surely cultural history of the city saved in your box of memories. Leon did not go precisely this range of views. An audience of mostly recognizable age (forty put up) strain the impending excitement in the presence of the idol, and just when his presence on stage (at about ten and ten p.m.), is made known I was at home, who opened the room, the bedroom and the attic and could use linen trousseau.

The concert did not leave the script at any time pre-designed one years ago in London when Cohen returns to daylight artistic. Not left in the dark or one of those songs that every good in his worshiper figure expected of him. As the actuaciónavanzaba these came increasingly deep and unleashed a collective delirium hardly describable. It was a concert of emotions, feelings, sensations. Music, too.

Could you brief mention that Cohen was in his speeches to the public (just as he was prodigal), the entity-wide banda acompañóy it with the deep lines that set of complicity (6 players and 3 singers that raised the level musical Superlatives at the concert) of the staging that adopted the Canadian (there is a root in all their theatrical gestures and movements) of the depth charges that he was accumulating the function (to interpret songs like 'The Partisan', ' Take This Waltz 'or' First We Take Manhattan')... However, I remain with seemingly insignificant details, but fitted with a density that is hard to escape: the tears of a woman who flirts with the two alliances on which finger the man who kneels before a banner with Cohen (nose could read their text), the long, long kiss of a couple during the interpretation of "Boogie Street, 'a love you launched via a mobile phone ...

Leonard Cohen has left an indelible mark on its way to Leon. It will be difficult to forget. By the way, wore a hat ...

Léon, Spain

ENGLISH VERSION.

Primero tomó Manhattan, luego León

Público - August 1, 2009 by Jesús Miguel Marcos

Sensible, sobrio y emocionante, el músico Leonard Cohen abrió anoche en León su gira por el país

Leonard Cohen entró anoche en España por una puerta de atrás llamada León. Lo del año pasado en el Festival de Benicàssim (una hora de concierto) fue un ensayo. Ayer pretendía triplicar ese tiempo en una ciudad sin tradición de conciertos estelares. Quizás era lo idóneo. Nada mejor para su sobrio, susurrante y misterioso repertorio que la pequeña y acogedora plaza de toros de la capital, que se eleva con timidez en una esquina de la ciudad. Parecía una reunión secreta, un encuentro de traficantes al final del romántico paseo de Papalaguinda. Anoche en León, un canadiense tocado con un sombrero traficó con emociones. El intercambio fue limpio y no se derramó sangre, si acaso lágrimas. La voz de Cohen fue un bisturí diseccionando sentimientos, que nos ponen en contacto con la fibra frágil, y que sin embargo nos sostiene. Hay que llorar más.

La serenidad de las canciones de Cohen impregnaba el ambiente. Ayer no había fans extasiados ni enloquecidos. Una hora antes del inicio del recital, nadie esperaba a las puertas del recinto. Si acaso la docena de personas que hacían cola para retirar entradas a última hora (increíble, pero cierto: no llenó, 4.000 personas para un aforo de 5.000). Parecía que no pasaba nada, pero la promesa era que iba a pasar mucho. Hace cinco años, nadie lo hubiera creído: Leonard Cohen comenzando una ronda de diez conciertos por España.

Por la edad del público, si te dicen que va a salir al escenario Plácido Domingo te lo crees. Sólo algunas greñas rockeras, algún niño acompañando a sus padres y varios grupos de veinteañeras Cohen todavía guarda su secreto poder de atracción rompían el tono canoso.

A las 22.13 horas se apagaron las luces de la plaza de toros y apareció Mr. Cohen y su banda en el escenario. La mitad de los asistentes se levantaron de sus asientos, como si fuera el director de un colegio entrando en clase. Hay leyenda, hay respeto. Las voces de las coristas nadaron en un vals anunciando, Dance me to the end of love. Cohen se arrodilló junto a su guitarrista aragonés, Javier Mas, y le cantó al oído con su voz cavernosa. Los dos, retándose bajo el sombrero. Era como un duelo de hienas por ver quién ponía más intención. El La, la, la final provocó los aplausos monótonos del público, que por momentos hicieron pensar en Julio Iglesias.

Los textos de Cohen son como los nudillos de Muhammed Ali. Se pierde mucho el que no presta atención a las letras. A veces, por fuera da la impresión de que no pasa nada, pero el interior está ardiendo. Hay que entrar. El primer verso es un juego de piernas, el siguiente es un puñetazo en el brazo, sin darte cuenta te ha soltado el primer gancho y cuando llega el estribillo ya te tiene acorralado en la esquina, destrozándote el hígado con un molinillo de golpes. ¿El futuro? "El asesinato", cantó en la apocalíptica The future, segundo tema de la noche.

Un tipo con gasolina extra

Cohen llegó a León en avión privado desde Lisboa, donde actuó el jueves. 74 años nueve más que Jagger, dos más que McCain y una gira mundial de órdago. 16 meses, conciertos de tres horas. Sólo en España dará diez conciertos. En total serán más de 200. Ayer en león, en tres días en Venecia y de ahí a Estambul. El canadiense está en forma. Las 40 personas que viajan con él siguen una rígida disciplina. Nadie llega tarde al ensayo, al autobús... principalmente porque Cohen siempre es el primero en aparecer. De todos los que viajan, es el que menos manías tiene. En la caravana de la gira no se oyen quejas: son muchas horas juntos, hay mucho respeto y se cuidan unos a otros.

Aprendió de la disciplina budista. El monasterio de Los Ángeles donde vivió no era un remanso de paz. "La vida allí es mucho más abrasiva de lo que la gente piensa. Hay un proverbio zen que dice que los monjes son como los guijarros en una bolsa: se pulen unos a otros", ha dicho. Sabe que todo tiene que estar cuidado al milímetro: que el margen de error sea lo más estrecho posible.

Si ayer Leonard Cohen tocó en León fue gracias a que su anterior manager le estafó. Hace cuatro años, el cantante descubrió que en su cuenta sólo quedaban 150.000 dólares. Le habían birlado 5 millones. "Yo no sabía ni donde estaba el banco", dijo Cohen más tarde. Su siguiente manager, Rob Hallett, le insistió durante tres años para que hiciera una gira. Sin embargo, Cohen daba negativas porque, ojo, pensaba que su música no le interesaba a nadie.

Presidentes, reyes, príncipes, estrellas del rock, deportistas de elite... Todos han visto o verán a Cohen en esta gira. Rara vez recibe a alguien (al parecer, Fernando Trueba ha pedido verle en Mallorca porque planea un documental sobre él y ha recibido una firme negativa). Llega al estadio, actúa y acto seguido desaparece en su hotel. O en el aeropuerto: hay veces que viaja de noche hasta la siguiente ciudad. Llevaba 15 años sin actuar y nadie se lo quiere perder porque pocos confían en que vuelva a hacerlo. Bono, cantante de U2, ya ha ido a tres conciertos. Paul Simon, Sting, David Gilmour... sus alumnos han ido a clase.

El sonido ayer comenzó un poco bajo. Musicalmente, la banda ejecutó los temas de forma bastante limpia y convencional, como en Aint no cure for love o Bird on a wire. Lo más carnoso está, claro, en la voz de Cohen, bastante maltratada (le cuesta dibujar la melodía en algunos temas), pero intensa y emocionante. Al parecer, hasta cuando está ensayando se entrega al máximo en cada sílaba. Imagínense con 4.000 personas enfrente.

Cohen se movía por el escenario como un pajarillo, dando pequeños pasitos de un lado a otro, como si accionara con los pies las cuerdas vocales que entonaban Everybody knows o In my secret life. Tras esta, como introducción a Who by fire, Javier Mas tuvo su particular momento de lucimiento con un solo de guitarra española de varios minutos que cortó la respiración.

Cohen no tiene planes

Los que conviven con él revelan que en las distancias cortas Cohen es muy humilde. Escucha con muchísima atención cuando le explican algo y no es rígido en sus opiniones. Trata de explicarse profundamente, es limpio y claro, accesible. Sus conversaciones están llenas de contenido: no hay espacio para la banalidad, sí para el sentido del humor. Le interesa todo. No es alguien político, pero si hay una conversación sobre Afganistán o sobre Irán, él sabe mucho más que el resto.

Cohen no hace planes, pero se sabe que está componiendo nuevas canciones y que las está trabajando con los músicos durante la gira, por lo que es posible que haya un disco a la vuelta de la esquina.

Las próximas paradas en España se intercalan en la ruta de su gira europea. En agosto, Cohen tocará en Palma de Mallorca (día 11), Vigo (13) y Girona (15). Para estos dos últimos conciertos las entradas están agotadas. En septiembre regresa a la Península para ofrecer otros seis conciertos: el 12 en Madrid, el 13 en Atarfe (Granada), el 15 en Zaragoza, el 17 en Bilbao, el 18 en Valencia y el 21 en Barcelona.

Translated by Google Translate

First took Manhattan, then Leon

Público - August 1, 2009 by Jesús Miguel Marcos

Sensible, sober and exciting, musician Leonard Cohen last night at Leon opened his tour of the country

Leonard Cohen came last night in Spain by a back door called Leon. The last year at the Festival de Benicàssim (one hour concert) was a test. Yesterday was intended to triple that time in a city without a tradition of stellar concerts. Perhaps it was perfect. Nothing better for your sober, whispering and mysterious code that the small and cozy bullring of the capital, which rises timidly in a corner of the city. It was like a secret meeting, a gathering of dealers at the end of the romantic stroll Papalaguinda. Last night at Leon, a Canadian played with a hat trafficked emotions. The exchange was clean and no blood is spilled, if it tears. Cohen was the voice of a scalpel dissecting feelings that put us in contact with the fiber brittle, and yet sustains us. We have to mourn over.

The serenity of Cohen's songs permeated the air. Yesterday there was no crazed fans enthralled. One hour before the recital, no one expected at the gates of the compound. If a dozen people queuing to withdraw at the last minute tickets (unbelievable but true: not filled, 4,000 people for a capacity of 5,000). It seemed that did not pass anything, but the promise was that it would happen a lot. Five years ago nobody would have believed: Leonard Cohen starting a round of ten concerts in Spain.

By the age of the audience, if you say you are going out on stage with Plácido Domingo you think. Only a few rock grenada, any children accompanying their parents and several groups of twenties Cohen still keeps her secret attraction to break the gray tone.

At 22.13 hours the lights were turned off from the arena and found Mr. Cohen and his band on stage. Half of the audience rose from their seats, as if he were the director of a school entering class. There are legends, there is respect. The voices of the choir announcing swam in a waltz, Dance me to the end of love. Cohen knelt alongside his guitarist Aragonese, Javier Mas, and he sang in his ear with his cavernous voice. Both retándose under the hat. It was like a duel of hyenas more about who he intends. La, la, la final monotonous led the applause of the public, that at times they think of Julio Iglesias.

Texts Cohen knuckles are like Muhammed Ali. You lose a lot which does not pay attention to the lyrics. Sometimes the outside gives the impression that nothing happens, but the inside is burning. Must go. The first verse is a set of legs, the following is a punch in the arm, without realizing it you dropped the first hook and when the chorus arrives and you are cornered in the corner destrozándote the liver with a pinwheel of strokes. And the future? "Murder", he sang in the apocalyptic future, the second theme of the night.

A guy with extra fuel

Cohen came to Leon in a private plane from Lisbon, where he worked on Thursday. Nine more than 74 years Jagger, two more than McCain and a world tour of órdago. 16 months, three hours of concerts. Only in Spain will give ten concerts. In total is more than 200. Yesterday at Leon, in three days in Venice and from there to Istanbul. The Canadian is in shape. The 40 people traveling with him continue a rigid discipline. No one is late to test the bus ... primarily because Cohen is always the first to appear. Of all the traveling, it has the least manias. In the caravan of the Tour will not hear complaints: many hours together, there is much respect and care for each other.

He learned of the Buddhist discipline. The monastery where he lived in Los Angeles was not a haven of peace. "Life here is much more abrasive than what people think. There is a Zen proverb that says that the monks are like pebbles in a bag: some are polished to others," he said. He knows that everything has to be careful about a millimeter that the margin of error is as narrow as possible.

If Leonard Cohen played in yesterday Leon was thanks to his previous manager would scam. Four years ago, the singer discovered that his account had only $ 150,000. Birla him 5 million. "I did not know where the bank," Cohen said later. His next manager, Rob Hallett, he insisted during three years to make a tour. However, Cohen was negative because the eye, thinking that his music is not in anyone's interests.

Presidents, kings, princes, rock stars, elite athletes ... Everyone has seen or will see Cohen on this tour. Rarely gets someone (apparently, Fernando Trueba has called him in Majorca because a planned documentary about him and received a strong negative). Get to the stadium, and then disappears is acting in his hotel. Or at the airport: there are times when traveling by night to the next city. He wore 15 years without action and no one wants to lose what little trust because to do so again. Bono, lead singer of U2, has gone to three concerts. Paul Simon, Sting, David Gilmour ... his students have gone to class.

The sound began yesterday a little low. Musically, the band carried the themes of clean and quite conventional, as in Is not no cure for love Bird on a wire or. What is more fleshy, of course, in Cohen's voice, rather abused (it costs to draw the melody on some issues), but intense and exciting. Apparently, even when delivery is being tested to the maximum in each syllable. Imagine 4,000 people in front.

Cohen moved across the stage like a bird, giving small Pasitos from side to side as if they operated feet chanting vocal cords Everybody knows In my secret life or. Following this, an introduction to Who by fire, Javier Mas was flaunting particular time with a guitar solo for several minutes Spanish breathtaking.

Cohen has no plans

Those who live together with him indicate that for short distances Cohen is very humble. Listen very closely when you explain something and is not rigid in their views. Try to explain deeply, is clean and clear, accessible. Their conversations are full of content: there is no room for the banality, but the sense of humor. Interested in everything. No politician is someone, but if there is a conversation about Afghanistan or Iran, he knows much more than the rest.

Cohen does not make plans, but knows he is composing new songs and that is working with the musicians during the tour, so there may be a disk around the corner.

The next stops on Spain were interspersed in the path of their European tour. In August, Cohen will play in Palma de Mallorca (11 days), Vigo (13) and Girona (15). For the latter two are sold out concert tickets. In September he returned to the Peninsula to offer six more concerts: 12 in Madrid, 13 in Atarfe (Granada), 15 in Zaragoza, 17 in Bilbao, in Valencia on 18 and 21 in Barcelona.

Léon, Spain

ENGLISH VERSION.

Leonard Cohen tiñe León con la amargura de sus plegarias poéticas

Diario de León - August 1, 2009 by Cristina Fanjul

El cantante canadiense deslumbró en el primero de sus recitales en España de «Live in London»

Como un Lord Byron contemporáneo, con toda la belleza del perdedor y con un violín en llamas, Leonard Cohen condujo ayer a miles de leoneses hacia la belleza de unas canciones cuyo directo pudimos recuperar, gracias al pecado, después de años de silencio. Con su sombrero como maestro de ceremonias, el poeta canadiense mostró durante todo el concierto el agradecimiento de los grandes y desplegó la magia de temas como Dance me to the end of love (el vals con el que abrió el escenario), The Future, Ain't no cure for love o Everybody knows . Leonard Cohen se convirtió ayer en uno de los acontecimientos culturales más importantes de cuantos ha vivido la ciudad y el León Arena fue durante casi tres horas capital de la épica musical de un poeta que moldea el lodo para trascender, que canta la individualidad y sigue buscando lo que él mismo considera inalcanzable.

Generoso y genial , compartió con el público sus himnos legendarios y narró cómo una época de sueños desbocados le llevó a aventurarse en el mundo de la religión y la filosofía, del prozac y las drogas. Y todo eso, dijo, «para llegar a la conclusión de que No hay cura posible para el amor» , una de sus mejores canciones. La libertad fútil de un pájaro en el alambre precedió una de sus temas más conocidos, Everybody knows . Como un mesías que ha perdido la esperanza, como un Poe redimido, clamó en su particular Getsemaní y, antes de entonar los versos de Anthem , recordó que todo tiene una grieta, y que es ésta la única manera para que la luz penetre en la oscuridad. Le siguió Suzanne , su particular himno al amor perdido, al amor loco de juventud, que ciega y permite viajar por la vida con los ojos cerrados. Tras Boggie street , declaración de principios de un pecador, Cohen entonó una de sus más bellas plegarias, Hallelujah , ésa en la que levanta su voz y reza porque, como él mismo asegura, «uno comienza a ser sabio cuando se da cuenta de que es sumamente infeliz». Tras la plegaria llegó Democracy , un canto a Estados Unidos, e inmediatamente después, I'm your man , una muestra de que el gran pesimista también sabe reirse, un ejercicio de ironía sobre el amor como entrega sumisa y absurda. Era casi el ecuador del concierto cuando Leonard Cohen demostró por qué la poesía-¦ Recitation fue como un verso suspendido en el aire, tan profundo como mil besos-¦

Y, de repente, su homenaje a Lorca, el que le reveló que se podía ser profundo y popular al tiempo, el que le guió por el camino que conduce a la poesía. Take this waltz fue uno de los momentos más memorables del show y el final que precedió a un nuevo comienzo, a Marianne , a First we take Manhattan , a Closing time. Ayer, Leonard Cohen nos permitió cruzar a la otra orilla, la de los sueños que nunca se cumplirán, la de los vencidos que, a pesar de todo, siguen esperando, la de la lujuria y las drogas que comparten sueños con el deseo de salvación, de encontrar una verdad que nunca llega-¦ Como un rey pescador, como el judío que cantó Lorca, a medio camino entre el East River y el Bronx, como Rut-¦ no me implores que te deje. Donde tú vayas, yo iré...

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Leon Leonard Cohen stained with the bitterness of his poetic prayers

Diario de León - August 1, 2009 by Cristina Fanjul

The Canadian singer dazzled in his first recitals in Spain of "Live in London"

As a contemporary Lord Byron, with all the beauty and the loser with a burning violin, Leonard Cohen yesterday led thousands of León to the beauty of some songs which could directly recover, thanks to sin, after years of silence. With his hat as master of ceremonies, the Canadian poet showed throughout the concert, thanks to the great and deployment issues such as the magic of Dance me to the end of love (the waltz with the opening scene), The Future, Ain't no cure for love or Everybody knows. Leonard Cohen yesterday became one of the most important cultural events of the city who has lived and Leon Arena was capital for almost three hours of epic music that shapes a poet to transcend the mud, singing and continues to look for individuality what he considered unattainable.

Generous and genial, he shared with the audience their hymns and tells how a legendary era of unbridled dreams led him to venture into the world of religion and philosophy, and the drug Prozac. And all that said, "to conclude that no possible cure for love", one of his best songs. Futile freedom of a bird in the wire of a preceding their most famous, Everybody knows. As a messiah who has lost hope, as a redeemed Poe, claimed in her personal Gethsemane, and before the verses of chant Anthem reminded that everything has a crack, and this is the only way for the light entering the darkness. Suzanne followed, including his ode to lost love, crazy love of youth, which allows blind and go through life with eyes closed. After Boggio street, a statement of principles of a sinner, then Cohen one of his most beautiful prayers, Hallelujah, that in raising his voice and says that, as he himself says, "one begins to be wise when he realizes that is very unhappy. " Democracy came after the prayer, a hymn to United States, and immediately afterwards, I'm your man, a sample of the great pessimist knows laughing, exercising an irony of love and surrender and submissive absurd. Was almost ecuador when Leonard Cohen's concert showed why poetry | a verse recitation was suspended in the air, as deep as a thousand kisses-|

And suddenly, his tribute to Lorca, who was revealed to be profound and popular at the time, who guided him along the road that leads to poetry. Take this waltz was one of the most memorable moments of the show and prior to the end a new beginning, to Marianne, First We Take Manhattan, a Closing time. Yesterday, Leonard Cohen has allowed us to cross to the other side, those dreams were never fulfilled, that of the vanquished that, despite everything, still waiting, the lust for drugs and who share dreams with the hope of salvation of finding a truth that never-| Like a fisherman king, as the Jew who sang Lorca, halfway between the East River and the Bronx, as Ruth-| I beg you to stop. Where you go, I will go ...

Léon, Spain

ENGLISH VERSION.

El día en que León fue la capital de los conciertos

Diario de León - August 1, 2009 by Pacho Rodríguez

León sirvió ayer de plataforma de lanzadera de la gira de Leonard Cohen por España. Fue un acto recíproco de importancia y repercusión. El canadiense puso, por su parte, a la capital leonesa en el mapa de los grandes conciertos del verano, con el aliciente de inauguración de gira y todo lo que eso presupone de altavoz mediático para confirmar que la voz del cantautor canadiense se hará oír en otras ciudades.

Pero una de las claves de esta gira que Cohen comenzó ayer reside en la naturaleza de un concierto diseñado casi de forma antológica para recorrer toda su carrera, con el añadido de que la propuesta ya está cocinada y enlatada en forma de disco después del concierto celebrado en Londres.

Con todos estos antecedentes, el viento tenía que soplar a favor de que la música y voz de Cohen resonaran con la trascendencia de las noches únicas e inolvidables. Todo ello sumado a la legión de fieles que en España le profesan admiración y que trasciende al carácter de espectadores para alcanzar a muchos de los artistas. Y en estos últimos se detectan comuniones y admiraciones que sin perder las esencias han tocado palos propios de Cohen. Dos ejemplos válidos de este hecho los constituyen cantautores tan dispares como Luis Eduardo Aute o Nacho Vegas. Distanciados generacionalmente por décadas, el primero pertenece a los músicos del tardofranquismo y la Transición, y el segundo surge de los recientes sonidos indies, Cohen les hace comulgar en territorios comunes y atreverse a versionar al maestro. Aunque, como dice Aute, aquel Aleluya del español llegó antes que la mítica canción del autor de I'm your man .

León, de esta forma, sirve de acogedor inicio de un tour musical que llevará a Cohen a nueve ciudades españolas hasta el 21 de septiembre de este año. Y, seguro que para el artista, escritor y poeta, un afortunado lugar de inicio para las actuaciones previstas en un país que siempre ha intercomunicado con el músico. De hecho, aquella fotografía hecha en el FIB, en lo que suponía el reencuentro entre Cohen y Enrique Morente, y la reedición de sus momentos compartidos en el escenario con el pretexto del mágico Omega, de Lagartija Nick; o el concierto en el que Aute y Cohen tocaron juntos, son señales suficientes como para confirmar las conexiones entre España y el creador canadiense.

Y, asimismo, se da la circunstancia de que ya hace más de dos años varios artistas españoles se juntaron para profesar la admiración hacia Cohen y dejaron para el recuerdo un disco en el que versionaron muchos de sus temas con resultados tan dispares como diversos. Y con la participación de tan cercanos como su hijo Adam y otros nombres que han figurado como colaboradores directos. O con la presencia de Santiago Auserón, siempre marca de calidad y garantía de buen tratamiento de las buenas obras.

Porque, en definitiva, de lo que se trata a la hora de abordar la obra de Leonard Cohen es confirmar, reafirmar y reclamar que la gran música siempre ha de ir acompañada de literatura de alta calidad hecha para tal ocasión. Y eludir debates estériles acerca de si una letra es un poema y disquisiciones similares tan inútiles.

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The day that Leon was the capital of the concerts

Diario de León - August 1, 2009 by Pacho Rodríguez

Leon served as a platform for shuttle yesterday of Leonard Cohen's tour of Spain. It was an act of mutual importance and impact. The Canadian set, for its part, the capital of León on the map of the major concerts of the summer, with the lure of opening on tour and all that that implies speaker media to confirm that the Canadian singer's voice will be heard in other cities.

But a key feature of this tour that began yesterday Cohen is the nature of a concert of nearly anthological designed to travel throughout his career, by adding that the proposal is already cooked and canned in the form of a disc after the concert in London.

With this background, the wind was blowing in favor of the Cohen's voice and music resonate with the significance of the unique and unforgettable nights. All this added to the legion of believers who profess admiration for him in Spain and goes to the spectators to reach many of the artists. And in recent communions are detected and fans without losing the essence that have touched bats own Cohen. Two examples of this are the songwriters as diverse as Luis Eduardo Aute, or Nacho Vegas. Generation gap in decades, the first belongs to the musicians and Transition tardofranquismo and the second arises from the recent sounds indies, Cohen makes commune in common areas and dare to version the master. Although, as Aute, Aleluya that came before the Spanish song of the legendary author of I'm your man.

Leon, thus serves as a warm start of a musical tour that will take Cohen to nine Spanish cities until September 21 this year. And surely for the artist, writer and poet, a lucky place to start proceedings in a country that has always integrated system with the musician. In fact, this photo made in the FIB, in which was the reunion between Enrique Morente and Cohen, and the reissue of their time sharing the stage with the excuse of magical Omega, Lagartija of Nick, or the concert that Aute Cohen and played together, are enough signs to confirm the connections between Spain and the Canadian creator.

And also there is the fact that for over two years many Spanish artists came together to profess admiration for Cohen left for the memory and a disk on which versions with many of his subjects as disparate as the various results. And with the participation of as close as his son Adam and other names that have been as close collaborators. Or the presence of Santiago Auserón provided quality mark and a guarantee of good treatment of the good works.

Because, ultimately, what it is to tackle the work of Leonard Cohen is to confirm, reaffirm and reclaim that great music must always be accompanied by high quality literature made for the occasion. And escape sterile debates about whether a letter is like a poem and as vain disquisitions.

Léon, Spain

ENGLISH VERSION.

Leonard Cohen, el susurro feroz

El País - August 1, 2009 by Borja Hermoso (Photo: NORBERTO CABEZAS)

El músico canadiense inicia triunfalmente en León su gira española

Lo sagrado y lo profano, la Biblia y la carne, Dios y el sexo, la mujer y la muerte, las plagas ya certeras y las que están por llegar, aleluyas repetidos como el mantra que no cesa... un poco de cabaret jazz y otro poco de susurro y rhythm & blues, el termomix lírico y salvaje de un bardo viejo lanzado a la carretera por la fuerza de la ruina: todo eso es, todo eso fue Leonard Cohen anoche en la plaza de toros de León, donde el compositor e intérprete canadiense (Montreal, 1934) ofreció un recital de casi tres horas que supuso el pistoletazo de salida de una gira española que le llevará además a Palma de Mallorca (11 de agosto), Vigo (13), Girona (15), Madrid (12 de septiembre), Granada (13), Zaragoza (15), Bilbao (17) y Barcelona (21).

Imagine usted que un desgraciado incidente financiero -producto o no de la crisis de marras- le ha dejado fuera del circuito. Vamos, que un gánster disfrazado de amigo le ha timado y le ha dejado en la calle. Sin una perra. Volqueta total. Con la hucha del cerdito resquebrajada y sin perras para el retiro.

Pues, sobre poco más o menos, ése y no otro es el motivo por el que un montón de incondicionales españoles, como los reunidos ayer en León para empezar, pueden ver y escuchar este verano a Leonard Norman Cohen.

Porque, hará cosa de cinco años ya, una tal Kelley Lynch, que hasta entonces había ejercido de amiga y representante, dejó al autor de Suzanne sin los cinco millones de dólares que éste había dejado a buen resguardo para la jubilación. Bueno, la cosa no está clara. Hay quien sostiene que la buena de Kelley se fugó con el botín. Pero tampoco faltan las versiones que hablan de una mala inversión del sabroso plan de pensiones del artista: ni más ni menos que en bonos Madoff.

Es sabido: en tiempos duros, la gente sufre, en tiempos duros, la gente discurre y en tiempos duros, la gente se busca la vida. Los hay que lo tienen crudo tirando a imposible. Y los hay que agarran, saltan del camastro y se autocatapultan a la furgoneta y a los escenarios. Léase, en este amplio capítulo de la música popular, nombres ilustres que en este verano recorren las carreteras de la vieja Europa: Jerry Lee Lewis, BB King, Roy Haynes, Hank Jones, los Eagles, Burt Bacharach. Y, por último, Leonard Cohen. Peor para él y albricias para sus seguidores, un puñado de los cuales (en torno a 2.000, el concierto no se llenó ni mucho menos) se rindió ayer a viejos himnos como So long Marianne, Take this waltz (el homenaje de Cohen a Lorca en forma de adaptación del poema Pequeño vals vienés), Sisters of mercy o, por supuesto, el inaplazable Hallelujah.

La cosa arrancó a lo grande, con acordes de guitarra española y Cohen de rodillas atacando los primeros compases de Dance me to the end of love. Un Leonard Cohen flaco como una rama de bosque y embutido en un impecable traje oscuro. Siguieron The future y Ain't no cure for love, Everybody knows e In my secret life, entre otras. En un momento dado, y tras agradecer al público español la acogida, el músico sentenció en voz baja y la cabeza gacha: "Es un auténtico privilegio, en medio de un mundo tan violento como éste, compartir una noche así con ustedes en un país pacífico como éste". ¿Un fallo de sus asesores de actualidad, quizá?

Alguien dijo que la sensación de ver en directo a Cohen puede ser parecida a visitar Venecia antes de su hundimiento definitivo: bingo. A sus 74 años -cumplirá 75 el 21 de septiembre, día de su concierto en el Palau Sant Jordi de Barcelona- el cantautor más influyente de los últimos 40 años resiste perfectamente en una plaza de toros la embestida de 25 canciones y las banderillas de tres horas de concierto y varias propinas, es cierto, pero sería una idiotez de fan irredento decir que su voz es la que era; y, por supuesto, que su lucidez y capacidad compositivas son las que fueron.

Como pudo comprobarse ayer en León, la ya de por sí grave y gutural voz del cantante ha adquirido inequívocos tintes de susurro. Siempre los tuvo, es cierto, pero hoy ocupan una indisimulada e inevitable porción en su directo. Y eso, aun conservando la magia del eterno creador de Suzanne, se hace a veces un poco angustioso. Se ama a Leonard Cohen, se sufre por Leonard Cohen.

Así que en esta gira española, enmarcada en un tour monumental que le lleva por todo el mundo desde hace ya un año (en realidad, dos giras enlazadas, algo que no le ocurría desde hace 15 años), él se limita a recorrer su última "creación" discográfica: Live in London. Y las comillas de "creación" no son caprichosas. Tienen que ver con que ese doble disco en directo no es una creación en sentido estricto, sino más bien una "recreación", grabada en junio de 2008 en el O2 Arena de Londres. Ningún problema para los incondicionales, encantados -como en el concierto de ayer- de poder tararear, silbar y canturrear los standards clásicos del héroe de la noche.

El arranque de la segunda parte del concierto de ayer, tras el preceptivo descanso de 20 minutos -que 74 primaveras son 74 primaveras-, fue, en ese sentido, de antología. Cohen, que se había retirado del primer acto dando saltitos por todo el escenario ante la hilaridad general, encadenó, así, a palo seco, magistrales versiones de The tower of sound, Suzanne (delirio del público ante una canción que sólo envejece como los mejores borgoñas), Sisters of mercy y una conmovedora The soldier.

Nada, ni lo odiosamente relacionado con el paso del tiempo o con las ruinas financieras, pudo ayer con la estela de Leonard Cohen, que cada vez que presentó a cada uno de sus músicos se quitó el sombrero y se inclinó ante ellos como un mayordomo ante su amo. Tampoco lo prosaicamente indeseable de nuestras vidas pudo ayer, en una plaza de toros que parece un ovni a punto de despegar, con la impronta de Jikan Dharma, aquel monje budista, naranja y rapado que rezaba a las estrellas, prisionero de la vida zen. El bardo grave soltó su rugido ayer bajo la luna enorme del verano español. Ni con la inolvidable silueta escueta de "el pequeño judío que escribió la Biblia", y ésas son palabras suyas. Sólo un exceso de susurros, apenas un no llegar a las notas más altas. Tampoco es mucho peaje para tan gran magisterio... sobre todo, cuando se tiene la terrible, inevitable sensación de que estás en Venecia y el agua te toca ya las rodillas. Eso es Cohen: Venecia hundiéndose, orgullosa, susurrante.

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Leonard Cohen, the fierce whisper

El País - August 1, 2009 by Borja Hermoso (Photo: NORBERTO CABEZAS)

The Canadian musician Leon begins his tour triumphantly Spanish

The sacred and the profane, the Bible and the flesh, God and sex, women and death, pests and accurate and that they are coming, Alleluia repeated the mantra that keeps ... a bit of jazz and cabaret little whisper and rhythm & blues, termomix lyric bard and a wild man thrown into the road by the force of the ruin: all that is, all that was Leonard Cohen last night in the bullring of Leon, where the composer and performer Canadian (Montreal, 1934) gave a recital of nearly three hours that was the start of a tour that takes Spanish in addition to Palma de Mallorca (August 11), Vigo (13) Girona (15), Madrid (September 12), Granada (13), Zaragoza (15), Bilbao (17) and Barcelona (21).

Imagine you are an unfortunate incident that financial product or not the crisis in question had left him out of the circuit. Come on, disguised as a friend Ganster scammed him and left him on the street. Without a bitch. Total truck. With the cracked pot of pig and dog for the withdrawal.

Well, on more or less, and no other that's why a lot of unconditional Spanish, like those gathered yesterday to start in Leon, you can see and hear this summer Leonard Norman Cohen.

Because, do something for five years, such Kelley Lynch, who until then had served as friend and representative, Suzanne left the author without the five million dollars he had left a good shelter for retirement. Well, the thing is not clear. Some argue that good Kelley escaped with the loot. But no shortage of versions that speak of a bad investment of pension plan palatable to the artist: nothing less than bonds Madoff.

It is well known: in hard times, people suffer in hard times, people in hard times and goes, people are looking for life. There are those who have it impossible to oil pulling. And we must seize, and jumping from bed to the van and autocatapultan scenarios. Read in this comprehensive chapter on popular music, famous names in travel this summer roads of Old Europe: Jerry Lee Lewis, BB King, Roy Haynes, Hank Jones, the Eagles, Burt Bacharach. Finally, Leonard Cohen. Worse for him and good news for his supporters, a handful of them (around 2000, the concert was not filled even less) is paid to old hymns like yesterday So long Marianne, Take this Waltz (in homage to Lorca Cohen as adaptation of the poem Little Viennese waltz), Sisters of Mercy and of course the absolute Hallelujah.

The thing started in a big way, with Spanish guitar chords and Cohen knees by attacking the first bars of Dance me to the end of love. Leonard Cohen a disservice as a branch of wood and inlaid in an impeccable dark suit. The continued and future Is not no cure for love, and Everybody knows In my secret life, among others. At one point, and after thanking the Spanish public reception, the musician said in a low voice and bowed his head: "It's a real privilege, in a world so violent as this, and share a night with you in a country peaceful as this. " A failure of his advisers today, perhaps?

Someone said that the feeling of seeing live like Cohen can visit Venice before its final collapse: bingo. At 74 years-75 meet on September 21, the day of his concert at the Palau Sant Jordi in Barcelona, the most influential songwriter of the last 40 years perfectly resists a bullring in the onslaught of 25 songs and three banderillas several hours of concert and tips, it is true, but it would be a fan of idiocy irredentism say your voice is the one that was and, of course, that its compositional clarity and ability are what they were.

As was verified yesterday in Leon, the already serious and guttural voice of the singer has become clear dyes whisper. Always had, it is true, but now occupy a portion unmistakable and unavoidable in live. And that, while keeping the magic of the eternal creator of Suzanne, is sometimes a little distressing. Loves Leonard Cohen, is experienced by Leonard Cohen.

So in this Spanish tour, framed in a historical tour that takes you around the world from a year ago (actually two tours linked, not something that happened 15 years), he is confined to his last tour "Creation" album: Live in London. And the quotation of "creation" are not capricious. They have to do with this double live album is not a creation at all, but rather a "recreation", recorded in June 2008 at the O2 Arena in London. No problem for the unconditional, as the thrilled-concert yesterday can hum, whistle and hum the classic standards of the hero of the night.

The start of the second part of the concert yesterday, after the mandatory 20 minutes of rest, 74 springs that are 74 springs, was, in that sense, anthology. Cohen, who had retired the first act by jumping around the stage to the general hilarity, chained, and a capella, master versions of The tower of sound, Suzanne (delirium of the public to an old song that only the best Burgundy), Sisters of Mercy and a riveting The soldier.

Nothing, not what odiosamente associated with time or with financial ruin, was yesterday in the wake of Leonard Cohen, who are increasingly presented to each of his musicians took off his hat and bowed to them as a foreman before his master. Nor prosaically undesirable in our lives was yesterday, in a bull ring that looks like a UFO about to take off, with the imprint of Jikan Dharma, one Buddhist monk, orange and shaved it to read the stars, a prisoner of life zen. The Bard unbraided his grave yesterday under the roar of the summer moon huge Spanish. Neither the brief unforgettable silhouette of "the little Jew who wrote the Bible," and those are his words. Only an excess of whispers, not only to reach the higher grades. Nor is much to pay teachers so much ... especially when there is a terrible, inevitable feeling that you're in Venice and water and you get to the knees. That's Cohen: Venice sinking, proud, whispering.

Venice, Italy

Set List - August 3, 2009

Per Tom Sakic on The Leonard Cohen Forum

Venice, Italy

ENGLISH VERSION.

Leonard Cohen, il poeta antidivo scala la hit parade grazie alla Tv

Il Giornale - August 3, 2009 by Antonio Lodetti

Ci saranno migliaia di persone in piazza San Marco, stasera, ad attendere l’ometto col Borsalino calato in testa, l’ebreo errante, il romanziere diventato cantautore. Leonard Cohen insomma, insieme a Dylan il più grande poeta della canzone, porta a Venezia i suoi brani culto (da Suzanne - poi ripresa da De André - a Bird On a Wire), sussurrati con quella voce calda che sbuca dai sotterranei dell’Io. Ha 75 anni (sempre giovane per virtù di poesia) e da sempre evita quel successo che puntualmente va a stanarlo, turbando il suo modo segreto di cantare la verità vivendo nel dubbio. Il successo lo rincorre; la melanconica That’s No Way to Say Goodbye è stata colonna sonora dello spot della Bmw, ma soprattutto è bastato che Alexandra Burke vincesse l’X Factor inglese con la meravigliosa preghiera coheniana Hallelujah, perché il brano battesse un record entrando nelle hit parade con tre versioni diverse. Quella della Burke, quella di Jeff Buckley e quella dello stesso Cohen. Gratificato? Contento? Per nulla. Lui non è un canzonettaro e si è subito lamentato: «È una bella canzone, ma la cantano in troppi, basta con le cover o i miei fan si stancheranno di ascoltarla».

Leonard Cohen è fatto così, romanziere passato alla canzone folk, intreccio di contraddizioni con un retroterra che dalla Bibbia arriva ai beatnik, uomo che ora parla alle coscienze dal buio dell’anima, ora racconta storie da «domenica mattina a casa con il sole». Non è tipo da autocelebrazioni, piuttosto da inquietudini, «sempre alla ricerca di una prova da cui risorgere come uomo vero». Per questo qualche anno fa s’è chiuso per sei anni in un monastero Zen, adagiato sul cocuzzolo di una montagna vicino a Los Angeles, «dove ho raggiunto la pace dello spirito ma ho ripreso anche a bere come una spugna. Cognac, whisky, vino rosso, al quale tuttavia il mio maestro Seasaki Roshi, un monaco di 94 anni, bevitore professionale come me, preferiva il sakè». Intellettuale che canta la disperazione ma anche l’ironia e il ghigno beffardo, appena uscito dal monastero dichiara: «Non è che mi sia mai convertito ad alcuna religione, sono nato ebreo e tale morirò. Lo Zen è ricerca delle cariche che muovono l’attività umana».

Ma il suo pubblico lo ama per le cose che dice cantando (o non cantando) d’amore, di sesso, di guerra, depressione, politica, con il disincanto e il distacco poetico di chi sembra aver capito il segreto della vita, ovvero «che non ci sono segreti». Cohen l’ha sperimentato sulla sua pelle in una vita noiosamente avventurosa, nella frenesia della scrittura («Vorrei dire tutto ciò che c’è da dire in una sola frase. Odio ciò che può succedere tra l’inizio e la fine di una frase», scrive nel romanzo Il giorno preferito), nella fuga dal Canada, nella continua ricerca del trascendente, negli incontri con i folksinger del Greenwich Village newyorkese, nel primo approccio con Dylan, quando Bob era l’idolo del popolo rock e Leonard aveva già 33 anni, quattro romanzi (tra cui Beautiful Loosers) e due raccolte di poesie alle spalle e cominciava a travolgere il mondo della musica con la struggente bellezza di Suzanne. Vecchio saggio o camaleontico istrione, Venezia lo attende per celebrare l’incontro tra cultura europea e America on the road. Lui sa come affrontare il pubblico; come partire da Dance Me to the End of Love e trasformare via via la serata in messa pagana, in sabba, in festa, persino in rock show dove non si sa mai se l’arte prevale sulla vita reale o viceversa. Antico e attuale, tradizionale e moderno, comunque e sempre ispirato nel dispensare piccole verità e grandi dubbi (o viceversa)come quando scrive: «Ho ricevuto il titolo di poeta e forse lo sono stato per un po’/Anche il titolo di cantante mi è stato gentilmente attribuito/ anche se a stento ero incapace di intonare un motivo/Per molti anni sono stato considerato un monaco/ mi rasavo il cranio e indossavo lunghe vesti/odiavo tutti ma fingevo di essere generoso e nessuno mi ha mai smascherato».

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Leonard Cohen, the poet Antida scale the hit parade due to TV

Il Giornale - August 3, 2009 by Antonio Lodetti

There will be thousands of people in Piazza San Marco, tonight, to wait for the little man with Borsalino fell on her head, the wandering jew, the song became a novelist. Leonard Cohen in short, along with Dylan, the greatest poet of the song, it brings her to Venice worship songs (from Suzanne - then picked up by De André - a Bird On a Wire), whispered with that warm voice that comes out from underground of the IE . He has 75 years (always by the power couple of poetry), and always avoids the time that success goes to Stan, upsetting his secret way to sing the truth living in doubt. The success the oceanic and the melancholic That's No Way to Say Goodbye was the soundtrack of the spot of the BMW, but above all it is enough that Alexandra Burke win the X Factor English with the wonderful prayer coheniana Hallelujah, because the track record battesse entering hit parade with three different versions. That of Burke, that of Jeff Buckley and that of Cohen himself. Gratified? Happy? Not at all. He is not a canzonettaro and was immediately complained: "It is a beautiful song, but sing too, enough to cover or my fans grow weary of listening."

Leonard Cohen has done so, novelist past the folk song, interweaving of contradictions with a background that comes from the Bible to the beatnik, a man who now speaks to the conscience of the dark, now tells stories from 'home Sunday morning with the sun' . It is not the type to be self than by anxieties, always in search of evidence from which rise as the true man. " For this a few years ago has been closed for six years in a Zen monastery, situated on the summit of a mountain near Los Angeles, where I attained peace of mind but I also picked up a drink like a sponge. Cognac, whiskey, red wine, which, however, my teacher Seasaki Roshi, a Monaco of 94 years, professional drinker like me, preferred sake. Intellectual singing despair but also the irony and mocking ghigno just left the monastery said: "It's not that I have never converted to any religion, I was born and that die jew. Zen is the search of an office move that human activity ".

But his audience loves him for the things he says singing (or singing) of love, sex, war, depression, politics, disillusionment with the poetic and the posting of those who seem to have understood the secret of life, or ' that there are no secrets. " Cohen has experienced on his skin in a lifetime adventure boringly, in the frenzy of writing ( 'I would say everything there is to say in one sentence. I hate what may happen between the beginning and the end of a sentence 'writes in the novel The day preferred), in flight from Canada, the ongoing search for the transcendent, in meetings with the folksinger of Greenwich Village New York, in the first approach with Dylan, when Bob was the idol of the people rock and Leonard had already 33 years, four novels (including Beautiful Loosers) and two collections of poems to his shoulders and began to overwhelm the music world with the beauty of struggente Suzanne. Wise Old Man or chameleon ham, Venice awaits to celebrate the meeting between European culture and America on the road. He knows how to deal with the public as from Dance Me to the End of Love and transform gradually into the evening putting pagan, sand, and in celebration, even in rock show where you never know if the art takes precedence over real life or vice versa. Ancient and present, traditional and modern, however, and always inspired in dispensing small truth and great doubts (or vice versa) as when he writes: "I received the title of poet and perhaps have been for a while '/ Even the title of singer I was kindly given / even though I was barely able to sing a reason / For many years I was considered a monaco / mi rasavo the skull and wearing long robes / hated all but pretending to be generous to me and no one has ever exposed. "

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