2009 Summer Tour - Colmar, France; Vienne, France; Nimes, France; Monte Carlo, Monaco; Wiesen, Austria; Bratislava, Slovakia

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

August 16, 2009
Colmar, France
Foire aux Vins de Colmar Festival

Set List for August 16
L'Alsace reivew & photos
Youtube
Fan reports

August 18, 2009
Vienne, France
Theatre Antique

Set List for August 18
Le Dauphiné Libéré reivew & photos
Youtube

August 20, 2009
Nimes, France
Arena

Set List for August 20
Midi Libre reivew & photo
Midi Libre article & photo
Youtube

August 22 & 23, 2009
Monte Carlo, Monaco
Sporting Club Monte-Carlo

Set List for August 22
Set List for August 23

August 26, 2009
Wiesen, Austria
Wiesen Festival

Set List for August 26
Wiener Zeitung reivew & photo
Die Presse reivew & photo
derStandard reivew & photos
Kurier reivew & photo
Kurier reivew & photo
Kleine Zeitung reivew & photo
FM4 ORF reivew & photo
Youtube

August 28, 2009
Bratislava, Slovakia
Inchebo Expo Arena

Set List for August 28
Kultúra.sme reivew & photos
Die Jüdische reivew
Topky reivew & photos
Kultura.Pravda reivew & photos
Aktuálne reivew
TÝDEN reivew & photo
TA3 reivew
HNOnline reivew
Új Szó reivew & photos
The Slovak Spectator reivew & photo
Fan reports
Youtube

Previous
Istanbul, Turkey
Palma de Mallorca, Spain
Vigo, Spain
Girona, Spain

Next Page
Prague, the Czech Republic
Budapest, Hungary
Belgrade, Serbia
Bucharest, Romania

Colmar, France

Set List - August 16, 2009

Per lmc 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
Lover Lover Lover
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Hey, That's No Way To Say Goodbye
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

Colmar, France

ENGLISH VERSION.

Foire aux vins de Colmar Leonard Cohen, chapeau l'artiste!

L'Alsace - August 16, 2009 by Thierry Martel (Photos: Vanessa Meyer Wirckel)

A mille lieux du concert des Babyshambles de samedi soir, Leonard Cohen a donné ce soir une prestation au millimètre, pour le plus grand plaisir des 7000 fans présents.

On entre en Leonard Cohen comme on entre en religion. Mais pas besoin de l’expliquer aux 7000 spectateurs présents ce soir au théâtre de plein air de Colmar. Tous étaient de fins connaisseurs du chanteur canadien. Grâce à une équipe technique du théâtre de plein air à son top, le concert a pu commencer à l’heure. Et pile à l’heure.

19 h 30 : Léonard Cohen entonne les premières phrases de "Dance me to the end of love", provoquant l’enthousiasme du public. Mais des cris rapidement tus. Car c’est dans un silence de cathédrale que les œuvres du chanteur canadien s’écoutent.

L’émouvant "Bird on the wire", l’entraînant "Everybody knows", l’incomparable "Who by fire" : Leonard Cohen dispose d’un repertoire totalement maîtrisé par les 7000 spectateurs du théâtre de plein air. Après "Anthem", le chanteur présente tous ses musiciens (trois choristes, deux guitaristes, deux claviers, un bassiste et un batteur) et annonce au public un entracte de 15 à 20 minutes.

Le temps d’une ou deux cigarettes, le public revient prendre place dans la coquille. C’est avec "Tower of song" que l’icône canadienne revient sur scène. Sur "Suzanne", il démontre qu’il est un excellent chanteur, mais également un très bon guitariste.

Grand prêtre de la soirée, entouré de tentures blanches, le Canadien démontre à chaque morceau qu’il est un grand monsieur de la musique. Un très grand monsieur. "The Partisan", qui rapproche frère et sœur, ou encore "Boogie street", assurée toute seule par la choriste Sharon Robinson, font vibrer le public.

Mais ce n’est rien comparé au début du morceau "Hallelujah" ou encore "I’m your man". Sur cette dernière, le public lance une paire de gants de boxe rouge, un singe en peluche et un stéthoscope. Le chanteur a tout attrapé au vol.

Bien qu’ovationné par plusieurs standing ovation, Leonard Cohen reçoit une des plus belles acclamations sur "So long, Marianne". Comme lors du concert de Neil Young en 2008, on admire d’assister au concert d’une légende vivante de la musique.

Neil Young avait joué 2h30. Avec Monsieur Léonard Cohen, c’est pareil. Trois heures après le début de son concert, il est toujours sur scène. On se tait, et on s’incline.

Translated by Google Translate

Foire aux vins de Colmar Leonard Cohen, chapeau l'artiste!

Radikal - August 8, 2009 by Kemal Yilmaz

A scene of miles Babyshambles concert Saturday evening, Leonard Cohen gave the evening a benefit to the millimeter, to the delight of the 7,000 fans present.

We enter into Leonard Cohen as we enter into religion. But no need to explain it to 7000 spectators this evening at the theater outdoor Colmar. All were connoisseurs of the Canadian singer. With a team of technical theater outdoors at its top, the concert began on time. And battery time.

19 h 30: Leonard Cohen sings the first few sentences of "Dance Me to the End of Love", causing the enthusiasm of the public. But cries quickly silenced. For it is in a cathedral silence of the works of Canadian singer listen.

The moving "Bird on the wire", causing "Everybody knows", the incomparable "Who by fire": Leonard Cohen has a repertoire entirely controlled by the 7,000 spectators at the outdoor theater. After "Anthem", the singer has all his musicians (three singers, two guitarists, two keyboards, a bassist and a drummer) and announced to the public an interval of 15 to 20 minutes.

Time for a cigarette or two, take the public back in the shell. It is with "Tower of song" Canadian icon that comes on stage. On "Suzanne", it shows that it is an excellent singer, but also a very good guitarist.

High Priest of the evening, surrounded by white curtains, Canadian shows that each piece is a great man of music. A very great man. "The Partisan," which brings brother and sister, and "Boogie Street", which is covered by any single vocalist Sharon Robinson, makes the public.

But this is nothing compared to the beginning of the song "Hallelujah" or "I'm your man." On the latter, the public is launching a pair of red boxing gloves, a stuffed monkey and a stethoscope. The singer has caught the flight.

Although several qu'ovationné standing ovation, Leonard Cohen is one of the most beautiful cheers on "So Long, Marianne". As in the Neil Young concert in 2008, we admire to attend the concert of a living legend of music.

Neil Young played 2h30. Mr Leonard Cohen with the same thing. Three hours after the beginning of his concert, he is always on stage. It is silent, and bows.

Colmar, France

Blogs and Other Fan Reports

Blog - "Heck Of A Guy" - "Leonard Cohen Equipped To Step Into The Ring And Examine Every Inch Of You"
Check out one of the best photos of the concert tour

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

Vienne, France

Set List - August 18, 2009

Per maretschkou 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
Lover Lover Lover
Waiting For The Miracle
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Hey, That's No Way To Say Goodbye
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

Vienne, France

ENGLISH VERSION.

Leonard Cohen pour clore la saison

Le Dauphiné Libéré - August 19, 2009 by Diane Thibaudier

VIENNE

Leonard Cohen n'a pas besoin d'artifice pour fasciner son public. Un décor épuré, quelques lumières sobres, les notes douces qu'il sait si bien jouer et les spectateurs sont accrochés à ses lèvres du début à la fin. Les quelque 6 000 personnes qui se sont déplacées au théâtre antique pour voir leur idole n'ont pas été déçues hier soir.

Le chanteur, qui n'est plus dans sa prime jeunesse, a assuré près de trois heures de concert pendant lesquelles il a tout donné. Tout, et toujours avec une élégance fascinante. De son chapeau que le chanteur retire pour saluer un à un ses neuf musiciens et choristes, aux costumes et à la scène, décorée de voilages. Élégance, douceur et simplicité semblent bien être les maîtres mots de la prestation de Leonard Cohen. Même son timbre grave et cassé, qui s'accorde si bien à ses chansons légèrement folk a donné une douceur sans pareille à la soirée.

À genoux face au public

Les amateurs des chansons de Leonard Cohen ont su rendre hommage à leur idole. Les gradins étaient combles. Des spectateurs murmurant, dansant doucement sur chacune des chansons de leur maître à chanter. Des spectateurs fascinés, en perpétuel applaudissement, et debout après chaque chanson. Et l'idole le leur rend bien, s'appliquant à parler français, proposant ses meilleurs morceaux et s'agenouillant aux premières notes.

Mais l'homme ne doit cependant pas récolter tous les lauriers. Il a su particulièrement bien s'entourer. Les voix de ses trois choristes sont simplement sublimes et ses six musiciens sont d'une précision incroyable. Quelques solos ont été disséminés çà et là pour le plus grand bonheur du public qui apprécie particulièrement ses chansons tristes et parfois sombres.

Le cadre exceptionnel du théâtre antique et la douceur de la soirée ont également contribué à la perfection de cet instant musical partagé. Ses meilleurs morceaux ont été largement applaudis, et plus particulièrement les célèbres "Hallelujah" et "Suzanne". Après ces trois heures de succès, Leonard Cohen a su quitter la scène avec cette même élégance qui l'a accompagné pendant tout son spectacle. Il s'est agenouillé au bord de la scène, devant un public fasciné. Fasciné et ému.

Translated by Google Translate

Leonard Cohen to end the season

Le Dauphiné Libéré - August 19, 2009 by Diane Thibaudier

VIENNA

Leonard Cohen does not need fireworks to fascinate his audience. A refined, some sober light, sweet notes so he can play and the audience hung on his lips from beginning to end. The approximately 6 000 people were displaced in theater to see their idol were not disappointed last night.

The singer, who is in his early youth, performed for nearly three hours total during which he gave his all. Everything, and always with an intriguing elegance. His hat as the singer to welcome a cut to a nine musicians and singers, the costumes and the stage, decorated with curtains. Elegance, sweetness and simplicity seem to be the watchwords in the provision of Leonard Cohen. Even his tone serious and broken, which is so slightly to his folk songs provided a unique sweetness to the evening.

On his knees facing the audience

Fans songs of Leonard Cohen were able to pay tribute to their idol. The stands were crammed. Spectators murmuring, dancing gently on each of the songs from their teacher to sing. Spectators fascinated, perpetual applause and standing after each song. The idol and makes them well, apply to speak french, offering his best songs and kneeling in the early grades.

But man does not reap all the laurels. He knew himself well. The voices of three singers are simply sublime and six musicians are incredible accuracy. Some solos were scattered here and there to the delight of the audience who appreciates his songs particularly sad and sometimes dark.

The exceptional setting of the ancient theater and the softness of the evening have also contributed to the perfection of this moment shared musical. His best songs have been widely applauded, especially the famous "Hallelujah" and "Suzanne." After three hours of success, Leonard Cohen has left the stage with the same elegance that has accompanied throughout his show. He knelt beside the stage before an audience fascinated. Fascinated and moved.

Nimes, France

Set List - August 20, 2009

Per lmc on The Leonard Cohen Forum

Nimes, France

ENGLISH VERSION.

Leonard Cohen, chapeau bas

Midi Libre - August 21, 2009 by Eric Delhaye (Photo: Eric CATARINA)

Grande voix, grands musiciens : le Canadien de 75 ans a bouleversé les arènes de Nîmes qui l’ont acclamé jeudi soir

Il aura un petit mot pour chacun : Javier Mas, « virtuose » de la mandoline, du luth, de la guitare ; Dino Soldo aux saxophones ; le « légendaire » Neil Larsen à l’orgue Hammond ; Bob Metzger, le guitariste « irremplaçable » ; le « prince de la précision » Rafael Bernardo Gayo à la batterie ; Roscoe Beck, bassiste et directeur musical, « notre conscience » ; enfin les « sublimes » Webb Sisters aux chœurs aux côtés de l’« incomparable » Sharon Robinson, compositrice et plus fidèle collaboratrice.

Leonard Cohen est révérencieux. Il peut : son groupe est merveilleux et il lui tire, à tout bout de champ, son chapeau. Le public, jeudi soir, aux arènes de Nîmes, n’a pas de chapeau. Il fait bien trop chaud. Mais il aurait fait de même : chapeau bas, dans ce qui ressemblait à un concours d’amabilités entre scène et gradins, remplis par 6 000 spectateurs chez qui pointait la nostalgie.

Poussé aux fesses par quelques déboires financiers, Leonard Cohen, septuagénaire canadien, est remonté sur scène l’an passé. Tout le monde est ravi : ses créanciers, ses fans et l’artiste qui a pris goût aux concerts géants même si, depuis le sommet des arènes, on ne distingue de lui qu’une frêle silhouette qui, souvent, s’agenouille : sans doute puise-t-il dans le sol les ressources de sa voix plus basse que terre.

Le répertoire est invariable depuis qu’il a capté, en 2008, le double album Live in London : les mêmes titres dans le même ordre, à peu de choses près dont The Partisan, adaptation culte de la Complainte du partisan, qu’il réserve au public français. Tandis que le concert débute en plein jour, il s’élève à mesure que le soleil se couche. Les standards défilent alors en trois bonnes heures de temps, dont une petite demi-heure d’entracte. Suzanne, Hallelujah et So Long, Marianne, notamment, que ponctuent des standing ovations. Avec son groupe serré comme dans un bouge, à l’opposé du show et de la pyrotechnie, Leonard Cohen cisèle des arrangements précieux qui, sur Bird on the Wire ou Who by Fire, suggèrent l’illusion de la chanson parfaite. C’est attendu, propre et calibré. Mais, baryton plus grave que naguère, esquissant des pas de danse à un mois de ses 75 ans, il dégage surtout une aura troublante jusqu’à la communion générale, chacun ayant dans ses souvenirs de jeunesse des motifs à s’émouvoir. Et comme au terme de chaque concert en France, Leonard Cohen quittera la scène sur ces mots : « Il y a longtemps que je t’aime, jamais je ne t’oublierai.»

Translated by Google Translate

Leonard Cohen, hat

Midi Libre - August 21, 2009 by Eric Delhaye (Photo: Eric CATARINA)

Great voice, great musicians: Canadian 75 years has disrupted the arenas of Nimes who have hailed Thursday evening

It will be a small word for each: Javier Mas, "virtuoso of the mandolin, lute, guitar, Dino Soldo on saxophones, the" legendary "Neil Larsen Hammond organ, Bob Metzger, guitarist" irreplaceable " and the "Prince of precision" Gayo Rafael Bernardo on drums, Roscoe Beck, bassist and musical director, "our conscience" and finally the "sublime" Webb Sisters on backing vocals alongside the "incomparable" Sharon Robinson, composer and most faithful collaborator.

Leonard Cohen is reverential. It can: his group is wonderful and it takes at any After field its hat. The audience Thursday night at the Arena of Nimes has no hat. It is too hot. But he would have done the same thing hats off, in what looked like a contest of civilities between the stage and bleachers filled with spectators at 6 000 which pointed nostalgia.

Pushed the buttocks by some financial difficulties, Leonard Cohen, Canadian septuagenarian, "went on stage last year. Everyone was delighted his creditors, his fans and the artist who has a taste for giant concerts though, from the top of the arenas, you can not see him but a frail figure who often kneel without certainly can happen in the soil resources of his voice lower than earth.

The directory is fixed since it captured in 2008 the double album Live in London: the same titles in the same order, almost exactly where The Partisan, adaptation cult of Rime of the partisan, it reserves the French public. While the concert began in daylight, it rises as the sun sets. Standards then marched three hours long, including a half-hour intermission. Suzanne, Hallelujah and So Long, Marianne, in particular, punctuated with standing ovations.

With a tight group like a move, as opposed to the show and fireworks, Leonard Cohen chisels arrangements valuable on Bird on the Wire or Who by Fire, suggest the illusion of the perfect song. It is expected, clean and calibrated. But baritone worse than before, drawing on dance steps to one months of his 75 years, it radiates an aura especially troubling to the wider communion, each with its youthful memories of the grounds to be moved. And since the end of each concert in France, Leonard Cohen off the stage by saying: "Long ago I love you, I will never forget."

Nimes, France

ENGLISH VERSION.

Patrice Clos, invité par Leonard Cohen en personne

Midi Libre - August 20, 2009 by Marc Caillaud (Photo: F. GARDIN)

Le chanteur canadien se produit ce soir, à partir de 20 heures

La douce mélodie de Suzanne retentit quand il reçoit un appel sur son portable professionnel : celui de technicien principal des services vétérinaires du Gard . Normal pour un fan de Leonard Cohen.

Mais Patrice Clos, jovial quinqua, est un fan un peu particulier. Dans sa maison de Sauzet, il possède certes tous les disques, livres et pas mal de bootlegs (copies pirates) du Canadien. Il n'a cependant rien d'un collectionneur fétichiste : tout juste a-t-il fixé au mur de son bureau un grand poster tiré d'une photo prise l'an dernier à l'Olympia par son ami suisse Eric Mory. Il n'est pas non plus un marathonien de concerts, bien au contraire : il aura même fallu attendre sa venue, inespérée, à Nîmes, tout près de chez lui, pour qu'il découvre enfin Leonard Cohen sur scène. En tant qu'invité par... l'artiste lui-même.

Car Patrice Clos peut se targuer d'être l'un de ses rares admirateurs à être en contact régulier avec lui. Le Montréalais lui envoie de temps à autre un e-mail. Et même des cadeaux, comme ce coffret, tiré à cent exemplaires et dédicacé, comprenant le recueil de tous ses textes et des reproductions de ses dessins et peintures. Il le crédite aussi sur ses disques dans ses remerciements.

La raison de cette relation privilégiée ? Le site internet que Patrice Clos a mis en ligne en mai 1998. Soit trente ans tout juste après qu'il ait entendu pour la première fois une chanson de Leonard Cohen. « J'avais 12 ans. Un jour, Suzanne est passé à la radio J'habitais Pézenas, dont je suis originaire, et j'ai couru à Montpellier acheter le disque. Voilà comment j'ai commencé à le suivre. » Son album préféré ? Recent Songs (1979). Sa chanson favorite ? Famous Blue Raincoat , sur Songs of Love and Hate (1971). Mais il n'apprécie guère Death of a Ladies'man (1977), produit par Phil Spector. L'idée de créer ce site internet est partie d'un constat : « Il n'y avait pas de site francophone qui lui soit spécialement consacré. » A l'époque, le Canadien avait déserté la scène et les studios pour se retirer dans un monastère bouddhiste. Ce qui ne l'a pas empêché, quelques mois après le lancement du site, d'accorder sa bénédiction à Patrice en lui adressant un simple e-mail : « Merci de vous intéresser à mon oeuvre. » Ce que le Gardois effectue de la manière la plus désintéressée : rien que du bénévolat.

Quand, en 2008, après quinze ans d'absence, Leonard Cohen annonce son grand retour sur scène, il lui fait cette confidence : « Si je n'avais pas été aussi fauché, je ne serais pas reparti en tournée. » En 2005, il avait intenté un procès à son ancienne manageuse pour détournement de fonds. S'il a obtenu gain de cause, l'affaire est en appel. Mais la qualité, unanimement saluée par la critique et le public, de ce come-back, qui se prolonge donc cette année, en a fait oublier ces enjeux. Pour Patrice Clos, ce concert nîmois sera aussi l'occasion de rencontrer d'autres fans, qu'il ne connaît que via son site. Et peut-être bien de pouvoir serrer la main et échanger quelques mots avec le maestro lui-même. Qui lui a ainsi témoigné sa reconnaissance le 1 er janvier dernier : « Ton encouragement est une part importante de ma vie. Que tous tes voeux, petits ou grands, se réalisent. » En voilà un, et un grand, qui est en passe de l'être.

ÚEgalement sur internet www.leonardcohensite.com

Translated by Google Translate

Patrice Clos, invited by Leonard Cohen in person

Midi Libre - August 20, 2009 by Marc Caillaud (Photo: F. GARDIN)

Canadian singer happens tonight at 20 hours

From the sweet melody of Suzanne sounds when he receives a call on his mobile professional: the senior technician of the veterinary services Gard. Normal for a fan of Leonard Cohen.

But Patrice Clos, jovial quinque, a fan is a bit particular. In his house Sauzet, it certainly has all the records, books and a lot of bootlegs (pirated) Canadian. However, it has nothing fetishistic collector: just there on the wall of his office a large poster from a photo taken last year at Olympia by his Swiss friend Eric Mory. It is not a marathon concert, quite the opposite: he has even had to wait his coming, unexpectedly, Nimes, near his home that he finally discovered Leonard Cohen on stage. As guest ... the artist himself. For Patrice Clos can boast of being one of his few admirers to be in regular contact with him. Montrealer sent him an occasional email. And even gifts, like this box, fired one hundred copies and signed, including the collection of all his texts and reproductions of his drawings and paintings. He also credits his records in his thanks.

The reason for this relationship? The website that Patrice Clos online in May 1998. Thirty years is just after he heard for the first time a song by Leonard Cohen. "I was 12 years. One day, Suzanne went on the radio I lived in Pezenas, where I come from, and I ran in Montpellier buy the disc. That's how I started to follow. His favorite album? Recent Songs (1979). Her favorite song? Famous Blue Raincoat, on Songs of Love and Hate (1971). But he does not like Death of a Ladies'man (1977), produced by Phil Spector. The idea of this website is part of a statement: "There was no French language site which is specially devoted. At the time, the Canadian had deserted the stage and studio to retire to a Buddhist monastery. That did not stop a few months after launching the site to give his blessing to Patrice, providing a simple email: "Thank you for your interest in my work. What the Gard performs in the most disinterested just volunteer.

When, in 2008, after fifteen years of absence, Leonard Cohen announced his comeback on stage, he makes this confession: "If I had not been so broke, I would not go back on tour. In 2005, he sued his former manager for misappropriating funds. If he succeeded, the case is on appeal. But the quality and universally acclaimed by critics and the public, this comeback that lasted so this year, has overshadowed these issues.

For Patrice Clos, this concert from Nimes is also an opportunity to meet other fans, he knows only through its site. Perhaps nice to shake hands and exchange words with the maestro himself. Which has expressed his gratitude on 1 January last: "Your encouragement is an important part of my life. May all your wishes, big and small, come true. "Here is one, and a great man who is about to be.

Internet www.leonardcohensite.com

Special pages on this concert can be found on Patrice's site Here and related pages Here and Here.

Monte Carlo, Monaco

Set List - August 22, 2009

Per Frauke_Germany 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
Lover Lover Lover
Suzanne
Hallelujah
I'm Your Man
Take This Waltz

Encores

So Long, Marianne
First We Take Manhattan
Famous Blue Raincoat
If It Be Your Will
Anthem

Monte Carlo, Monaco

Set List - August 23, 2009

Per Frauke_Germany on The Leonard Cohen Forum

First Set

Dance Me To The End Of Love
The Future
Bird On The Wire
In My Secret Life
Who By Fire
Waiting For The Miracle
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
Anthem

Wiesen, Austria

Set List - August 26, 2009

Per Wimmer 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
Lover Lover Lover
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

Wiesen, Austria

ENGLISH VERSION.

Die Glocken der Sehnsucht läuten

Wiener Zeitung - August 28, 2009 by Konstanze Walther (Foto: epa)

Sex, Religion und Zigaretten: Die Dreifaltigkeit des Leonard Cohen – spätes Faible für die Flamenco-Gitarre

Fast 40 Jahre ist es her, dass Leonard Cohen als 35-Jähriger auf der Isle of Wight zusammen mit Jimi Hendrix und Joan Baez aufgetreten ist. Damals musste man ihn um 2 Uhr Früh noch aufwecken. War er doch im Drogen- und Alkoholrausch, die Angst vor der Bühne im Nacken, eingeschlafen. Zwei Jahre später brach er bei einem Konzert in Israel in Tränen aus.

Doch es war nicht sein Erbe (Cohens russische Mutter und sein polnischer Vater sind beide jüdischen Glaubens), das ihn so offensichtlich rührte, sondern vielmehr das LSD, das er sich und seinen Musikern in der Pause genehmigt hatte.

Und das, obwohl er eigentlich im Vergleich als alter erfahrener Hansel zur Musik gekommen ist. Seine erste Platte ("Songs of Leonard Cohen", 1968) wurde veröffentlicht, als er schon 33 war. Davor hatte er sein Leben mit Gedichten und Romanen finanziert.

Seit jeher alt

Cohen posierte damals schon gerne als alter Mann. In seinem Roman "Beautiful Losers", der im Herbst neu übersetzt im Blumenbar-Verlag herauskommen soll, schreibt er als alter Witwer über Masturbationsfanta sien über Bilder selig gesprochener Ureinwohnerinnen. Ebenfalls im Blumenbar-Verlag ist auf Deutsch der Gedichtband "Buch der Sehnsüchte" erschienen, den er vor allem in seiner Zeit im Kloster verfasst hat.

Cohen ist jetzt endlich so alt, wie er immer sein sollte. Seine Dämonen sind weg. Er wurde zum Zen-Mönch geweiht und lebte 15 Jahre immer wieder im Kloster. Sein Liebesleben scheint in geordneten Bahnen zu verlaufen. Die One-Night-Stands mit Janis Joplin ("Chelsea Hotel #2") sind vorbei, er ist seit einigen Jahren mit der Musikerin Anjani Thomas zusammen. Auf Cohens offizieller Webseite findet sich sogar ein Link zu der Seite der 25 Jahre jüngeren Künstlerin, die mit ihm seine letzten Alben zusammen geschrieben und produziert hat.

Als Cohen 2008 nach 15 Jahren Bühnenabsenz wegen finanzieller Probleme (seine Managerin hatte Gelder veruntreut) sich wieder dazu entschloss, dem Publikum in die Augen zu sehen, sagte er: "Ich habe mir gedacht, wenn ich es jetzt nicht mache, dann mach ich es mit 75 auch nicht mehr." Die Erfahrung hat ihm offenbar soviel Spaß gemacht, dass er sie heuer wiederholt – und das, obwohl er am 21. September schließlich tatsächlich 75 wird.

Andächtiges Schunkeln

Auf dem Festivalgelände in Wiesen bot Cohen ein Best-Of seiner Hadern. Die alte Brüchigkeit der Stimme ist weg. Er singt mit seiner samtweichen tiefen Stimme routiniert und doch mit Gefühl. "There ain’t no cure (for love)" war der Eröffnungssong, und schon da schunkelte das Publikum andächtig mit. Gefolgt von "Bird on a wire", "Everybody knows" und dem eher neueren Lied "In my secret life" vom Album "Ten New Songs" aus 2001. Dazu kommen Klassiker wie "Anthem", "Lover, Lover, Lover" und "Who by fire" – Lieder, in denen er Religion, Liebe und vor allem Sehnsucht mühelos mixt.

Der alte Dandy kokettiert zwar nicht mit dem Publikum, das er immer wieder mit "Friends" anspricht, dafür als notorischer Ladies’ Man mit den Background-Sängerinnen: Jedesmal, wenn die drei eine längere Gesangseinlage haben, zieht der Herr und Meister den Hut vor ihnen und wartet bis zum Ende. Dann setzt er seinen Hut wieder auf und widmet sich erneut frontal dem Publikum.

Das Alter fordert natürlich seinen Tribut. Nach einer Stunde ist Pause, man muss sich erholen – obwohl Cohen quietschfidel von der Bühne hüpft, um nach einer halben Stunde nur mit Weste statt Sakko wieder zu erscheinen. Dann kommen die Lieder aller Liebenden. "Suzanne", "Hallelujah", "I’m your man". Um den Liedern etwas Neues abzugewinnen, werden sie zum Teil auch mit Flamenco-Gitarre versehen.

Cohen predigt und geht auf die Knie. Pärchen zwischen 20 und 70 Jahren schmiegen sich aneinander, kuscheln und knutschen auf dem Rasen. Jene Konzert-Besucher, die ohne Anhang erschienen sind, gedenken Zuhausegebliebener oder Verflossener.

Eine Glocke der Liebe hängt über dem Burgenland. Feuerzeuge und Handys werden in die Höhe gehalten. "You make me forget so very much", singt Cohen in "So long Marianne". Das Leben ist schön. Cohens Lieder sind es auch.

Translated by Google Translate

The bells are ringing the longing

Wiener Zeitung - August 28, 2009 by Konstanze Walther (Photo: epa)

Sex, religion and cigarettes: The Trinity of Leonard Cohen - late passion for the flamenco guitar

Almost 40 years ago, that Leonard Cohen as a 35-year-old on the Isle of Wight, along with Jimi Hendrix and Joan Baez has occurred. At that time you had him by 2 clock or wake up early. If he was asleep, but in drug and alcohol intoxication, the fear of the stage in the neck. Two years later, he broke out at a concert in Israel in tears.

But it was not his heritage (Cohen's Russian mother and Polish father are both Jewish), which moved him so obvious, but the LSD, which he had allowed himself and his musicians during the break.

And, although he actually came as an old experienced Hansel compared to the music. His first album ( "Songs of Leonard Cohen", 1968) was published when he was 33rd Before that he had financed his life with poems and novels.

Since time immemorial ago

Cohen then had posed as an old man happy in his novel "Beautiful Losers", which will come out in autumn in the new translated Blumenbar publisher, he writes as an old widower Fanta sia about masturbation pictures saved on Indigenous spoken. Also in Blumenbar Publisher has appeared on the German poems "book of longing," which he has written mainly during his time in the monastery.

Cohen is now finally as old as it should be. His demons are gone. He was ordained a Zen monk and lived for 15 years and over again at the monastery. His love life seems to run in an orderly fashion. The one-night stand with Janis Joplin ( "Chelsea Hotel # 2") are over, he has been for several years along with the singer Anjani Thomas. In Cohen's official website there is even a link to the page of 25 years younger artist who has written with his last albums together and produced.

As Cohen 2008 after 15 years absence, the stage because of financial problems (his manager had embezzled funds) once again decided to see the audience's eyes, he said: "I figured if I'm not now, then I'll do it with 75 and no more. " The experience has made him seem so much fun that he repeated this year - and that, although he, on 21 September 75 is finally, actually.

Devotional swaying

At the festival site in meadows Cohen offered a best-of his rags. The fragility of the old voice is gone. He sings a routine with his velvety voice, but with deep feeling. "There is not no cure (for love) was" the opening song, and already there schunkelte with the audience rapt. Followed by "Bird on a Wire," "Everybody knows" and the more recent song "In my secret life" from the album "Ten New Songs" from 2001. There are also classics such as "Anthem", "Lover, Lover, Lover" and "Who By Fire" - songs, in which it religion, love and above all, yearning mixes effortlessly.

The old dandy, not flirting with the audience, which he always responds with "Friends", but as a notorious ladies' Man with the background singers: Every time the three have a longer vocal inlay, pulls in front of the lord and master of the hat them and waits until the end. Then he puts his hat on again and re-dedicate themselves to the audience head-on.

The age of course, takes its toll. After an hour's break, you have to recover - though Cohen jolly jumps from the stage to appear after half an hour only with a vest instead of jacket again. Then come the songs of all lovers. "Suzanne," "Hallelujah," "I'm your man." In order to extract the songs something new, they are provided with some flamenco guitar.

Cohen preaches and goes to his knees. Couples from 20 to 70 years, cling to each other, cuddle and smooch on the lawn. Those attending concerts that have been published without annex intend Zuhausegebliebener or passed.

A bell of love hanging over the Burgenland. Lighters and cell phones are kept in the air. "You make me forget so very much," Cohen sings in "So Long Marianne". Life is beautiful. Cohen's songs are, too.

Wiesen, Austria

ENGLISH VERSION.

Leonard Cohen: Diese Tour soll niemals enden

Die Presse - August 27, 2009 by Thomas Kramar (Foto: EPA (Yoan Valat))

Leonard Cohen, seit über einem Jahr auf Konzertreise, wurde nun in Wiesen gefeiert.

„I tried to leave you, I don't deny“ – wenn Leonard Cohen, bald 75, die Anfangszeilen dieses letzten Songs singt, mischen sich Lächeln und Wehmut in den aufbrausenden Applaus. Er hat ihn nun über 170 Mal gesungen, diesen Song, in grauen Hallen und grünen Arenen, auf dieser Tournee, die er im Mai 2008 in seinem Heimatland Kanada begonnen hat, schon mit der bitteren Würze: Es wird wohl die letzte sein.

Nun führt sie ihn zum zweiten Mal durch Europa, bald ein zweites Mal durch Nordamerika: Es ist noch keine „Never Ending Tour“ wie die Konzertreise seines Kollegen Bob Dylan, aber sie hat schon einen Hauch von Ewigkeit: „Here's a man still working for your smile“, ist die letzte Zeile von „I Tried to Leave You“, wie soll so ein Mann gehen? Wie den Hut für immer nehmen, den er so häufig, so andächtig zieht auf der Bühne?

„I buy what I'm told: from the latest hit to the wisdom of old“, singt er in „In My Secret Life“ und verharrt beim Wort „old“ auf einem ganz besonders tiefen Ton: Cohens Performance hat nicht nur Tiefe, das sowieso, sondern auch Leichtigkeit und Selbstironie. Zärtliche Selbstironie: „Hold on, my brother!“, lässt er seinen Chor singen, und Bruder L. erklärt: „I finally got my orders.“ Oder, wie er in „Tower of Song“ sagt: „I was born like this, I had no choice, I was born with the gift of a golden voice.“

Dieses klassische Künstlerbekenntnis bringt Cohen in einer kürzeren Version als zu Beginn der Tour, aber noch immer begleitet er sich selbst dabei auf einer Kinderorgel, mit einer ganz naiven, simplen Melodie. Im starken Kontrast zu den sonstigen üppigen Arrangements: Von der Kargheit von Cohens besten Alben wie „Songs of Love and Hate“ will diese Band professioneller Stimmungsmacher nichts wissen, sie spielt Smooth Jazz, Barmusik im besten Sinn, mit allen Mitteln, vom strategisch schmachtenden Saxofon bis zur taktisch sirrenden Mandoline.

Ein Höhepunkt: „Lover Lover Lover“

Was auch wieder konsequent ist: Cohen ist eben kein zerrissener Vierziger mehr, sondern ein abgeklärter Siebziger, der auch alle Brüche im Rückblick ins Ganze fügt, im Sinn der schönen Refrains seiner „Anthem“: „There's a crack in everything, that's how the light gets in.“

Und doch: Unter den größten Momenten war ein – nur behutsam geglättetes – „Lover Lover Lover“, dieser abgründige Song, in dem Cohen „Angst und Schmutz und Feigheit und Scham“ bekennt – und seinen Vater (!) bittet, seinen Namen zu ändern. Auch in „Famous Blue Raincoat“, diesem bitteren Brief an den erfolgreichen Nebenbuhler, hörte man Narben. Und natürlich in „Suzanne“: unfassbar, wie dieser Song seine Magie über 42 Jahre behalten hat.

Unter dem Zelt von Wiesen, auf diesem stimmigsten aller (zumindest österreichischen) Festivalgelände, hörte man bei diesem Song (und vielen anderen) Einsame glücklich den Text mitmurmeln, sah Pärchen, die einander bei der Zeile „If you want to strike me down in anger, here I am, I'm your man“ zärtlich in die Rippen stießen, freute sich über den Dreivierteltakt, der beim wienerischen „Take this Waltz“ die Menge erfasste, lächelte über Schwankende, die eine Metapher in „Bird on a Wire“ („Like a drunk in a midnight choir I have tried in my way to be free“) offensichtlich ganz besonders ernst genommen hatten. Und man ärgerte sich schließlich nicht einmal mehr über die Besucher, die einander bei jedem Song lautstark erzählen müssen, was sie erlebt haben, damals, als dieser Song neu war.

Immerhin, sie haben etwas erlebt, Leonard Cohen hat sie dabei begleitet, und er arbeitet immer noch für ihr Lächeln. Hoffentlich noch einige Zeit.

Translated by Google Translate

Leonard Cohen: This tour will never end

Die Presse - August 27, 2009 by Thomas Kramar (Foto: EPA (Yoan Valat))

Leonard Cohen, has been over a year on tour, is now celebrated in meadows.

"I tried to leave you, I do not deny" - when he sings Leonard Cohen, now 75, the opening lines of this last song, mingled smiles and sadness in the short-tempered applause. He has sung him now more than 170 times, this track, in warehouses, and gray green arenas on this tour, which he began in May 2008 in his native Canada, even with the bitter wort: It will probably be the last.

Now she leads him through Europe for the second time, sometimes a second time by North America: It's still not a "Never Ending Tour" as the concert tour of his colleague, Bob Dylan, but she already has a touch of eternity: "Here's a man still working for your smile ", is the last line of" I Tried to Leave You, "how is it going man? How to take your hat for good, which he so frequently, so devoutly draws on the stage?

"I buy what I'm told: From the latest hit to the wisdom of old," he sings in "In My Secret Life" and stays at his word "old" at a particularly low note: Cohen's performance has not only depth, that anyway, but also ease and self-mockery. Gentle self-mockery: "Hold on, my brother," he can sing his chorus, and brother L. says: "I finally got my orders." Or, as in "Tower of Song" says: "I was born like this I had no choice, I was born with the gift of a golden voice."

This classic artistic declaration Cohen brings in a shorter version than the beginning of the tour, but still he accompanies himself on a child while organ melody with a very naive and simplistic. In stark contrast to the other lush arrangements: From the austerity of Cohen's best albums as "Songs of Love and Hate" will know this band of professional cheerleaders anything, it plays smooth jazz, bar music in the best sense, by all means, from a strategic languorous saxophone to tactically searing mandolin.

A highlight: "Lover Lover Lover"

What again is consistent: Cohen is just not a torn forties, but a mellowed Seventies, which also adds all the breaks in retrospect to the whole, in the sense of the beautiful chorus of his "Anthem": "There's a crack in everything, that's how the light gets in."

And yet, among the greatest moments was - only gently smoothed - "Lover Lover Lover," this abysmal track, in which Cohen fear and filth and cowardice and shame, "confesses - and (his father) asks to change his name . In "Famous Blue Raincoat ', this bitter letter to his successful rival, was heard scars. And of course in "Suzanne" incomprehensible how this song has retained its magic over 42 years.

In the tent, heard by meadows, this well all (at least in Austria) Festival Grounds, one for this song (and many other mitmurmeln) Lone happy the text you see couples who each other down at the line "If you want to strike me in anger , here I am, I'm your man "pushed gently in the ribs, was delighted with the three-quarter of the Viennese" Take this Waltz "captured the crowd, smiled at vacillating, a metaphor in" Bird on a Wire "( "Like a drunk who in a midnight choir I have tried in my way to be Free") is obviously taken very seriously. And they eventually did not even angry about the visitors who need to talk loudly to each other in every song, what they experienced, back when this song was new.

After all, they have experienced something, Leonard Cohen has accompanied her there, and he is still working for your smile. Hopefully some time yet.

Wiesen, Austria

ENGLISH VERSION.

Turmhohe Lieder in Zimmerlautstärke

derStandard - August 27, 2009 by Karl Fluch (Robert Newalds Photoblog)

Der große kanadische Singer-Songwriter Leonard Cohen begeisterte im burgenländischen Wiesen

Wiesen - Lauschiger hätte es nicht sein können: Am Mittwoch besuchte der Kanadier Leonard Cohen mit seinem zehnköpfigen Ensemble das Open-Air-Gelände im burgenländischen Wiesen, um an einem lauen Sommerabend einen Querschnitt durch sein Gesamtwerk zu bieten. Allesamt Stücke, die für jeden Singer-Songwriter dieser Welt neben dem Werk von Bob Dylan wie Prototypen sind.

Jedes seiner Lieder, egal ob spärlich nur von der Gitarre begleitet oder breiter mit Chor, Orgel, Schlagzeug, Saxofon und Gitarre angelegt, lässt neben seiner eigentlichen Aussage im Subtext mitschwingen: So wird es gemacht. So funktioniert der perfekte Song.

Der perfekte Song muss aber auch Gehör finden. Und das war in Wiesen nicht so leicht. Nicht weil das Publikum nicht wollte, aber der Meister hatte befunden, das Konzert in einer Lautstärke zu bestreiten, die sich ab einer gewissen Distanz zur Bühne dramatisch verflüchtigte.

Das tat vor allem an sich nachdrücklichen Stücken wie Everbody Knows gar nicht gut, verpuffte doch deren Macht auf halbem Wege zu den Empfängern. Warum der heute 74-Jährige seine charismatische Kellerstimme freiwillig um die halbe Wirkung brachte, blieb unverständlich.

Ein Open-Air-Gelände ist schließlich keine "Concert Hall" , wie er sie später im schunkelnden Take This Waltz besingen sollte, das ob der darin vorkommenden Erwähnung von "Vienna" patriotische Freude unter den 7000 Besuchern auslöste. Doch Cohens buddhistisch-bescheidener Vortrag, in dem er sich immer wieder niederkniete, wie um sich selbst kleiner und seinen Song größer erscheinen zu lassen, euphorisierte die Besucher auch noch bei Zimmerlautstärke.

Er gab eine prächtige Zeitlupen-Version von Suzanne, ließ sich von einer etwas zu fingerflinken Orgelei durch das schmerzlich-schöne Hallelujah geleiten und errichtete den Tower Of Song, dessen anschließender Beifall wieder einmal um einiges lauter als der Vortrag selbst war.

In stimmungsvollem Bühnenlicht erlebte man also eine verhaltene Weihestunde eloquenter Songwriter-Kunst, die sich mit Fortdauer der zweiteiligen Show verdichtete und mit I'm Your Man einen Höhepunkt fand. Nicht auszudenken, wie das bei angemessener Lautstärke gewirkt hätte!

Translated by Google Translate

Towering songs in low volume

derStandard - August 27, 2009 by Karl Fluch (Robert Newalds Photoblog)

The great Canadian singer-songwriter Leonard Cohen enthusiastic in Burgenland Meadows

Meadows - Idyllic could have not: On Wednesday, the Canadian Leonard Cohen attended with his ten-member ensemble of the open-air setting in Burgenland fields to offer a warm summer evening a cross section of his overall work. These are all pieces that are for every singer-songwriter in the world next to the work of Bob Dylan as prototypes.

Each created his songs, whether sparsely attended only by the guitar or wider, with choir, organ, drums, saxophone and guitar, is in addition to his actual testimony resonate in the subtext: how it is done. This is how the perfect song.

The perfect song can also be heard. And that was not so easy in meadows. Not because the audience did not, but the master had been to deny the concert in a volume that is dissipated dramatically from a certain distance from the stage.

It did especially strong in itself plays like Everbody Knows not good, but their power fizzled out halfway to the receivers. Why did the now 74-year-old voluntarily brought his charismatic voice Keller halfway around the impact, remained incomprehensible.

An open-air setting is ultimately not a "Concert Hall", as he would later sing in schunkelnden Take This Waltz, which is triggered if the occurring mention of "Vienna" patriotic joy among the 7,000 visitors. But Cohen's Buddhist-modest speech in which he knelt down again and again, how to appear to be larger and even less to his song, euphoric visitors even at low volume.

He gave a superb slow-motion version of Suzanne, could be anything from a fingerflinken to Orgelei through the conduct painful and beautiful Hallelujah and built the Tower of Song, whose applause followed a lot once more louder than the speech itself was.

In an atmospheric stage lighting so we enjoyed a subdued sacred hour eloquent songwriter-art, with the thickened continuation of the two-part show and I'm Your Man was a highlight. We can not imagine how that would have been effective with a reasonable volume!

Wiesen, Austria

ENGLISH VERSION.

Leonard Cohen: Eine gemütliche Feierstunde

Kurier - August 27, 2009 by Guido Tartarotti

Leonard Cohen und seine zu guten Begleitmusiker unterhielten 7000 freudige Besucher in Wiesen.

Eine etwas paradoxe Situation: Man kann auch auf höchstem Niveau enttäuscht werden. Man kann etwas Tolles erleben und dennoch traurig sein, weil man spürt: Es hätte noch toller sein können.

7000 waren trotz Kartenpreisen von 80 Euro aufwärts zu Leonard Cohen nach Wiesen gekommen und hatten dafür vor allem Stau auf sich genommen. Stau auf der Straße (die Polizei lenkte die Autofahrer absurderweise nur auf eine von zwei Zufahrtsstraßen, wo bald alles stand, Ortskundige ignorierten die Anweisung, fuhren durch Wiesen und waren in kürzester Zeit auf dem Parkplatz). Stau bei den Eingängen. Stau an den Getränkeständen (das umständliche Bon-System auf dem Gelände bleibt eine Kuriosität).

Dennoch war die Stimmung prächtig: Cohen-Konzerte ähneln mittlerweile sakralen Feierstunden. Und das Wetter spendierte dazu netterweise einen wunderbar milden Spätsommerabend, unter Verzicht auf den gefürchteten Wiesener Spontanwolkenbruch.

Ritual

Leonard Cohen begann des Konzert wieder mit "Dance Me To The End Of Love" - und alles war wie bei den Wien-Auftritten im Vorjahr: Die gleichen Laufschritte bei Auf- und Abgängen, die gleichen Posen (Kniefall), die gleichen Gesten (Hut ab), die gleichen Ansagen: "You are very kind." Macht nichts: Die Gleichförmigkeit erhöhte noch den Eindruck des Rituellen. Cohen intoniert sicher, seine Stimme hat Kraft, sie klingt aber heiser - gut so, denn dadurch kommt zumindest ein Hauch von Unwägbarkeit in dieses schöne, aber brave Konzert.

Schuld an dieser Bravheit sind Cohens acht Begleitmusiker. Die sind einfach zu gut, und wie viele zu gute Musiker können sie der Versuchung nicht widerstehen, die Lieder audiophil zuzuschmieren. Cohens Songs werden hier mit jazziger Beflissenheit aufpoliert und Richtung Simon & Garfunkel veredelt.

Schrotgewehr

Und das ist ein Missverständnis: Diese Lieder waren nie als Einrichtungsgegenstände für Designerwohnzimmer gedacht. Sondern die hatten etwas Schroffes, Gefährliches, Karges und Schadhaftes an sich.

Wer es nicht glaubt, der höre einmal "Songs Of Love And Hate" von 1971. Oder man vergleiche den aktuellen Konzertmitschnitt "Live In London" mit dem großartigen "Field Commander Cohen", aufgenommen 1979: Die andere Platte klingt nahezu wie die eine - aber nachdem sie mit einem Schrotgewehr durchschossen wurde.

Diese Brisanz, die in Cohens Musik immer mitschwang, die ist einer leichten Schunkeligkeit gewichen - auch deshalb, weil die weichen, dicken Arrangements den Sänger einladen, es sich in ihnen allzu gemütlich zu machen.

Aber wie gesagt: Wir raunzen hier auf hohem Niveau. Auch ein gemütlicher Leonard Cohen ist wichtiger, interessanter und ergreifender als der Rest.

KURIER-Wertung: **** (von *****)

Translated by Google Translate

Leonard Cohen: A welcoming ceremony

Kurier - August 27, 2009 by Guido Tartarotti

Leonard Cohen and his accompanying musicians talking about good 7000 visitors in joyous meadows.

A somewhat paradoxical situation: You may be disappointed at the highest level. You can do things and still be sad, because you can feel: It could have been even more wildly.

7000, despite ticket prices from 80 euros upwards come to Leonard Cohen by meadows and had taken this particular jam up. Traffic jam (the police diverted motorists absurdly, only one of two access roads, which was soon all that local knowledge ignored the statement, drove through fields and were in a very short time) in the parking lot. Congestion at the entrances. Jam at the drinks stands (the Bon cumbersome system on the site remains a curiosity).

Nevertheless, the atmosphere was superb: Cohen concerts now resemble religious ceremonies. And the weather treated us kindly to a wonderfully mild evening in late summer, Wiesener, waiving the dreaded Spontanwolkenbruch.

Ritual

Leonard Cohen once again began the concert with "Dance Me To The End Of Love" - and everything was like the Vienna performances last year: The same steps for running up and exits the same pose) (falling to his knees, the same gestures (hat from), the same announcement: "You are very kind." Never mind: The uniformity further increased the feeling of ritual. Cohen intones sure his voice has power, but she sounds hoarse - a good thing, because that is at least a hint of uncertainty in this beautiful, but good concert.

Blame for this good behavior is Cohen's eight accompanist. They're just too good, and how many good musicians too, they can not resist the temptation to zuzuschmieren audiophil the songs. Cohen's songs are here, with jazzy polished and refined solicitude toward Simon & Garfunkel.

Shotgun

And this is a misunderstanding: These songs were never intended as designer furnishings for the living room. But had little abrupt, dangerous, harmful and Karges-like in itself.

Those who do not believe this, just listen, "Songs Of Love And Hate" from 1971. Or compare the actual concert recording "Live In London" with great "Field Commander Cohen", recorded 1979: The other record sounds almost like one - but after it was shot with a pellet gun.

The sensitive nature, which resonated in Cohen's music always is a slight Schunkel gone - partly because the soft, thick arrangements to invite the singer, is make them too comfortable.

But as I said: We grumble at high levels. Also a cozy Leonard Cohen is more important, interesting and moving than the rest.

Kurier Rating: **** (from *****)

Wiesen, Austria

ENGLISH VERSION.

Leonard Cohen: Kniefall vor dem Meister

Kurier - August 27, 2009 by Wolfgang Hauptmann

Leonard Cohen präsentierte mit Würde und Leidenschaft sein musikalisches Lebenswerk vor 7000 Besuchern in Wiesen.

Das Bühnen-Comeback von Leonard Cohen ist eine der viel beachteten und erfolgreichsten Tourneen der vergangenen Monate. Rund 7.000 Besucher haben am Mittwoch am Festivalgelände in Wiesen miterlebt, warum der Barde auf seiner angeblich aus finanziellen Gründen motivierten Tournee so gefeiert wird: Weil Cohen mit Würde und Leidenschaft sein musikalisches Lebenswerk präsentiert, eingebettet in einen feinen Klangteppich einer großartigen Band, die allerdings manchmal den Stücken ihre ursprüngliche bezaubernde Sprödheit nimmt.

Das Rare am Burgenlandgastspiel des bald 75-Jährigen war das Fehlen von Sitzplätzen. Die Zusammenstellung des Programms entsprach den bisher absolvierten Sommershows, ebenso wie die (seltenen) Wortmeldungen und die Soli der Musiker. Und dann soll Cohen, wie er selbst in Interviews erzählte, auf das lukrierte Geld angewiesen sein, weil ein Manager ihn ums Vermögen gebracht habe. Trotzdem wirkte der durchinszenierte Auftritt nur selten zu routiniert, was am Können und dem Herzblut der Protagonisten lag, die durch einen fast schon andächtigen Abend führten und Geschichten erzählten, die jeder nachvollziehen kann: "There ain't no cure for love."

Lebensabschnittspartner

Leonard Cohen brauchte keine Videowalls, nur reduziertes Licht (meist war die Bühne pro Song in eine einzige Farbe getaucht) und keine Bono'schen Gimmicks, er hat seine Stimme, seine Aura, seine Weisheit. Ehrfürchtige Ruhe herrschte, als der Kanadier "Bird On A Wire" vortrug, an den Rand trat, seine Mitstreiter solieren ließ und dann vor ihnen den Hut zog. Es durfte aber auch spätestens zu "Everbody Knows" mitgeklatscht werden, selbst wenn diese Form der Beifallskundgebung in diesem Rahmen fast schon barbarisch anmutete. Viel passender schien es, in die akustischen Gedichte des Poeten einzutauchen - wie bei "In My Secret Life" (I saw you this morning, you were moving so fast, can't seem to loosen my grip on the past, and I miss you so much).

Vor allem beim (vorwiegend) älteren Publikum war spürbar, dass es von Cohens Liedern durch Lebensabschnitte begleitet oder gar geführt wurde. "So Long, Marianne" (als erste Zugabe) weckte ebenso starke Emotionen wie "Suzanne" oder "Chelsea Hotel". Formulierte Cohen früher seine Worte als Getriebener, blickt er heute gelöst und voll innerer Ruhe zurück, was den alten Texten neue Bedeutung gibt. Wie gediegen er seine Klassiker neu erfindet, zeigte "Who By Fire", das sich nach einem Solo in einem wunderbaren Arrangement entfaltete, der Stimme eine perfekte Leinwand bot und schließlich im Contrabass endete.

Hallelujah

Die Zusammenstellung des Programms funktionierte perfekt: Auf dunkle Momente, die Grabesstille erwirkten, folgten stets flottere Tracks zum Mitgehen, zwischen der manchmal etwas zu bombastisch-perfekt geratenen Instrumentierung hatte Spärlichkeit Platz. Diese hätte man sich jedoch durchaus öfter gewünscht, wenn z. B. die Backgroundsängerinnen (die mit ihren hellen Stimmen des öfteren durchaus angebrachte Kontraste zu Cohens Bariton setzten) den Raum "zukleisterten". Letztendlich galt es aber vor dem Meister den Hut zu ziehen - da dürfte "Hallelujah" sogar zur beinahe sakralen Heiligenverehrung ausarten.

Translated by Google Translate

Leonard Cohen: kneeling before the master

Kurier - August 27, 2009 by Wolfgang Hauptmann

Leonard Cohen presented with dignity and passion of his musical life's work for 7000 visitors in meadows.

The come back on stage by Leonard Cohen is one of the highly acclaimed and successful tours in recent months. Around 7,000 visitors have witnessed on Wednesday at the festival site in meadows, why the bard is supposed to celebrate on his tour so motivated for financial reasons: Because Cohen with dignity and passion of his musical life's work presents, embedded in a delicate tapestry of sound of a great band, although sometimes the pieces of her original charming Sprödheit increases.

Rare on the guest performance of the Burgenland soon 75-year-old was the lack of seats. The compilation of the program corresponded to the previously completed summer shows, as well as the (rare) and spoke on the solos of the musicians. And then Cohen, as he himself said in interviews will be relying on the usually meant cashing in money, because a manager had taken him around the property. Nevertheless, the presence durchinszenierte seemed routine rarely what the skill and the heart and soul of the protagonist was led by an almost reverent evening and tell stories that everyone can understand: "There is not no cure for love."

Life partner

Leonard Cohen did not need a video walls, only reduced lighting (usually per song, the stage was bathed in a single color) and no gimmicks Bono'schen, he has his voice, his aura, his wisdom. Reverent silence prevailed, as the Canadians' Bird On A Wire "sang, walked to the edge, solos, and then let his colleagues before they took off his hat. It could also be mitgeklatscht also later than "Everbody Knows", even if this form of praise in this context, the almost happened to sound barbaric. Far more appropriate it seemed to plunge into the acoustic poems of the poet - as in "In My Secret Life" (I saw you this morning, you were moving so fast, can not seem to loosen my grip on the past, and I miss you so much).

Especially in the (mainly) older audience was felt that it was accompanied by Cohen's songs, or even led by Life. "So Long, Marianne" (as the first encore), as well aroused strong emotions such as "Suzanne" and "Chelsea Hotel". Cohen put his words as driven past, he looks now fully resolved and inner calm back, which gives new meaning to the ancient texts. How dignified he's reinventing classics, was "Who By Fire", which unfolded after a solo in a beautiful arrangement that gave the voice a perfect screen and ended up in the bass.

Hallelujah

The compilation of the program worked perfectly: In dark moments, the silence of the grave secured either, always followed more upbeat tracks to go along, between the sometimes a bit too bombastic-perfect instrumentation had paucity wiser place. This could have been, however, quite often you want, such as when the backup singers (the light with their voices often contrasts perfectly fitted to Cohen's baritone set), the space "zukleisterten. Ultimately, it was necessary, but before the master's hat to draw degenerate - as expected "Hallelujah", even to the almost religious veneration of saints.

Wiesen, Austria

ENGLISH VERSION.

Im Banne des großen Pop-Poeten

Kleine Zeitung - August 28, 2009 by Sam Schlagenhaufen (Foto: Helmut Utri)

Der Geschichtenerzähler Leonard Cohen, demnächst 75, fesselte 7.000 Menschen am Festivalgelände in Wiesen mit Charme und poetischer Selbstironie.

Gleich mehrere Generationen zog es ins Burgenland, die Veranstalter durften sich trotz des Ticketpreises von 80 Euro (nur Stehplätze!) über ein volles Festivalgelände freuen. Um exakt 20 Uhr betrat ein äußerst agiler Leonard Cohen die Bühne und lud zur Zeitreise.

Cohen, der sich nie als Sänger, sondern immer als Geschichtenerzähler sah, ist in Begleitung einer exzellenten Band. Eröffnet wurde das mehr als zweieinhalbstündige Konzert mit "Dance Me To The End Of Love". Eine Stimme von unverkennbarer Tiefe, eingerahmt von drei wunderbaren Vokalistinnen. Der transparente Sound füllt in bestechend guter Tonmischung die charakteristische Zeltkuppel.

"Hut ab" Es folgen "Bird On The Wire" und "Everybody Knows", ehe das verzückte Publikum vom erst kürzlich ins Programm gehievten "Lover Lover Lover" eingenommen wird. Das Charisma Cohens gipfelt in lässig-charmanten Gesten gegenüber dem Publikum, aber auch für seine Musiker. Deren Leistungen würdigt er des Öfteren mit einem verdienten "Hut ab".

Im zweiten Teil ein Wiederhören mit "Suzanne", dem ersten Welthit, danach Klassiker auf Klassiker: "I'm Your Man", "Take This Waltz", "So Long, Marianne" und viele andere.

Fazit: Das Publikum mehr in den Bann zu ziehen, als Leonard Cohen es tut, scheint fast ein Ding der Unmöglichkeit. Wer mokiert sich da noch über den Eintrittspreis?

Translated by Google Translate

Under the spell of the great pop poets

Kleine Zeitung - August 28, 2009 by Sam Schlagenhaufen (Foto: Helmut Utri)

The storyteller Leonard Cohen, soon 75, attracted 7,000 people on the festival grounds in meadows with charm and poetic irony.

Several generations pulled it to the Burgenland, the organizers were pleased in spite of the ticket price of 80 euro (standing room only!) On a full festival grounds. To exactly 20 clock an extremely agile Leonard Cohen arrived on the scene and invited to time travel.

Cohen, who never as a singer, but always saw as a storyteller, is accompanied by an excellent band. Was opened more than two and a half concert with "Dance Me To The End Of Love". A voice of unmistakable depth, surrounded by three beautiful female vocalists. The transparent sound fills in an engagingly good sound mix, the distinctive dome tent. "Hats off"

Here the "Bird On The Wire" and "Everybody Knows", before the enraptured audience will be taken up by the recently hoisted into the program, "Lover Lover Lover". The charisma Cohen culminates in a casual and charming gestures toward the audience, but also for his musicians. He recognizes their achievements from the frequently with a well-deserved "hat".

In the second part, a bye with "Suzanne," the first worldwide hit, followed by classic on classics: "I'm Your Man," "Take This Waltz," "So Long, Marianne" and many others.

Conclusion drawn: the audience under the spell of more than Leonard Cohen does it, seems almost an impossibility. Anyone who sneers at as yet on the price of admission?

Wiesen, Austria

ENGLISH VERSION.

Die Miete im Turm der Lieder

FM4 ORF - August 28, 2009 by Boris Jordan

Cohen ist das Wort und das Wort war Cohen (in Wiesen)

Da waren wir nun, unter strahlendem Himmel vor einem leuchtenden Vorhang. So musste er aussehen, der Turm der Lieder. Und sein Priester würde Leonard Cohen sein, auf der Bühne, die vor ein paar Jahren noch die wichtigste Festivalbühne Österreichs gewesen war und die sich nun als Mietplatz für Salsaabende und australische Pink Floyd Coverbands verdingen muss.

Lange hatten wir uns gefreut auf das Konzert des großen Alten, den man schon den Rest seines Lebens in einem Kloster gewähnt hatte. Wäre er nicht um Geld betrogen worden, wäre er wohl auch nicht auf diese Tour gegangen, die ihn seit zwei Jahren die Hallen der Metropolen ausverkaufend durch die Welt führt.

Und man hat gewusst, von Gerüchten und der englischen Presse: Da bleibt kein Wunsch offen. Cohen spielt alles, spielt lange, ist gut drauf, sieht aus wie "eine Mischung aus Humphrey Bogart und einer Galapagos Schildkröte" (Guardian) und führt durch den Abend wie eine Mischung aus großzügiger Gastgeber und willkommener alter Freund.

Cohen? Ja!

Und so war es. Kein einziges Lied von Cohen hat gefehlt: "Suzanne", "Who By Fire", "So Long Marianne", "Chelsea Hotel" aus der Phase, als der unrasierte, depressive "Ladies Man" mit Innensicht und unter Düsterkeit verstecktem bitteren Humor die wichtigsten Schlafzimmerplatten der ausgehenden Hippiezeit aufgenommen hatte, die auch der Soundtrack zu Liebe und Beziehungsfrust meiner eigenen Eltern und ihrer Freunde in den 70ern gewesen waren. "Take This Waltz", "Tower Of Song" und "I'm Your Man", die späten Parodien auf eben diese Phase. "Miracle", "Everybody Knows" und vor allem das bibelschwere jüdische Rachelied "First We Take Manhattan" aus der musikalisch unglücklichen aber lyrisch unvergleichlichen späten Phase seines Schaffens - schließlich das abseits stehende, rätselhafte "Hallelujah": Er gab uns alles und einige Tränen tropften auf die hartgesottenen, festivalerprobten Baumstumpfpflaster im Wiesener Zelt.

Und die Menge kannte jedes Wort, jede Silbe und er blieb keine schuldig. Das Publikum - wir, sogar ich, waren ausnahmsweise in der unteren Hälte des Altersspektrums - dankte es ihm, trotz ärgerlich lächerlicher Lautstärke mit leisem Mitsummen seiner melancholisch genauen Gefühlszeilen. Die Leute lagen einander selig in den Armen zu dem tiefen Summen des Priesters der Liebe, dessen tiefem Summen sie in ihrer eigenen Liebe immer einen Platz erhalten hatten.

Band? Nein

Nennt mich Indie Spießer, aber selbst und gerade bei so einem wichtigen und sakral gehaltenen Abend braucht man eine andere Band. Die Referenzliste der KünstlerInnen, für die die enzelnen Bandmitglieder der Cohen Tourband noch gearbeitet hatten, liest sich wie ein Schreckenskabinett: Sting, Bo-Deans, Barry Manilow, Lionel Ritchie, Jennifer Warnes, Roben Ford... Ausnahme ist der spanische Lautist, der das selten zu hörende Instrument Bandurria so spielte, wie man das in Spanien offenbar so spielt. Alle ausser ihm bemühten sch redlich und routiniert, die knorrig-überzeugte Performance des Alten mit eklig- glatten Studiomusiker - Sounds zuzukleben, die aus einem weggeworfenen Backingtrack aus einem 80er Jahre Kokser Studio in Los Angeles destilliert zu sein schienen, auf dem "lyrisch" oder "ergreifend" draufgestanden hatte - Lyrisch und ergreifend, klar, toll, das nehmen wir, kostet nicht viel und ist ja egal, wenn Michael Bolton das nicht wollte...

Das Clowngetue des Saxers erinnerte an alte Tina Turner Videos und das akrobatische Starmania Geknödle, das gerne mit Soul verwechselt wird, kommt offenbar überall gut an - ich halte es auch nicht von Sharon Robinson aus, eine, die so etwas Tolles wie "Everybody Knows" mitgeschrieben hat.

Es war eben viel von Cohens später Musik, als er sich offenbar mehr um seine eigene Spiritualität und die richtigen Worte als um die Töne und ihre Referenzen gekümmert hatte, also seiner Musik ab seinem 50. Lebensjahr, von eben dieser Sharon Robinson und ihres Versuchs "modern" zu "grooven" derartig in ebendiese Zeit hineinzementiert worden, anstatt sie, wie es sich für einen in Jahrhunderten denkenden Priester gehört, zeitlos zu gestalten.

Diese Sounds waren eben das Risko dieses Abends. Manchmal war der Sound dann auch nicht auszuhalten, manchmal (nein eh fast immer) grummelte der Alte etwas von der Magie hinein, die er alleine mit der Nylonsaiten-Gitarre einmal so gut festhalten hatte können, dass sie Generationen von Liebespaaren und deren Eltern als die allerbeste Anlehnmusik erschienen waren.

Aber das nur nebenbei, Sound nur nebenbei. Cohen ist das Wort und das Wort war Cohen. Er rezitierte, flüsterte, sang und zitterte sich durch die zarten Worte über und für Frauen "mit Rosen zwischen den Zähnen", die er einmal für Marianne Faithfull oder Nico verfasst hatte, um versteckt auch fallenzulassen, dass die "Reichen einen Kanal im TV der Armen" besitzen, die "Guten den Krieg verloren" haben (was "jeder weiß") und er schließlich nur "für unser Lächeln arbeitet" um seine "Miete im Turm der Lieder" zu bezahlen. Allein für diese bitteren Hinterlistzeilen, die er sanft ins Gebet streut, gebührt ihm erneut der gezogene Hut, mit dem er uns als "Freunde" in die Nacht entlassen hat.

Translated by Google Translate

The rent in the tower of song

FM4 ORF - August 28, 2009 by Boris Jordan

Cohen is the Word and the Word was Cohen (in Wiesen)

Since we were now, shining under a brilliant sky in front of a curtain. So he had to look like the tower of song. And his priests would be Leonard Cohen, on the stage, which was a few years ago was still the main festival stage in Austria and now as Berths for salsa evenings and Australian Pink Floyd needs to hire cover bands.

Long we had been looking forward to the concert of the great old man, whom they had been the rest of his life in a monastery imagined. Had he not been cheated out of money, he would probably not go on this tour that takes him selling out the last two years, the halls of major cities around the world.

And it has been known of rumors and the British press: There is no wish open. Cohen plays everything, long plays, is well on it, looks like "a mixture of Humphrey Bogart and a Galapagos tortoise" (Guardian) and through the evening like a mix of generous host and a welcome old friend.

Cohen? Yes!

And so it was. Not one song was missing from Cohen: "Suzanne," "Who By Fire," "So Long Marianne," "Chelsea Hotel" from the stage, as the unshaven, depressive "Ladies Man" with internal view and bitter humor hidden in the gloom added main bedroom of the late hippie era had plates that had also been the soundtrack to love and relationship frustrations of my own parents and their friends in the 70s. "Take This Waltz," "Tower of Song" and "I'm Your Man," which parodies on this very late stage. "Miracle," "Everybody Knows" and especially the Jewish bibelschwere revenge song "First We Take Manhattan" from the musical unfortunate but incomparable lyrical late stage in his career - after all, the Related aside, enigmatic "Hallelujah": He gave us everything and some tears fell onto the hard-boiled, festivalerprobten stump in plaster Wiesener tent.

And the crowd knew every word, every syllable, and he was not guilty. That - we are public, even I was, exceptionally, in the lower holds of the age spectrum - he thanked him, despite angry ridiculous volume with a low humming his melancholy feeling of precise lines. The people were happy in each other's arms on the low hum of the priest of love, the deep hum, they had received in their own love is always a place.

Band? No

Call me Indie philistine, but even and especially in such an important and sacred held the evening you need a different band. The reference list of artists, these rows for which the band members of Cohen's touring band were still working, reads like a chamber of horrors: Sting, Bo-Deans, Barry Manilow, Lionel Ritchie, Jennifer Warnes, Roben Ford .. Exception is the Spanish Lautist, who played the seldom-heard instrument Bandurria as one which apparently does so in Spain. All except him trying sch honestly and expertly, zuzukleben-convincing performance of the gnarled old man with nasty-smooth studio musicians - sounds that seemed to be distilled from a discarded backing track from a 80s coke studio in Los Angeles on "lyrical" or "was moving draufgestanden" - lyrical and poignant, clear, toll, which we assume does not cost much and it does not matter if Michael Bolton did not want ...

The Clowngetue of Saxers recalled old Tina Turner videos and the acrobatic Starmania Geknödle, which is often confused with Soul, is obviously good at all - I think it also does not by Sharon Robinson, who then something cool like "Everybody Knows" has co-written.

It was just a lot of Cohen's later music, as if he had cared for them more clearly about his own spirituality and the right words than to the sounds and their references, so his music from his 50th Year of life, from this same Sharon Robinson, and their attempt "grooving modern" to "so hineinzementiert been in this same time, rather than how it is part of a centuries-minded priests who make timeless.

These sounds were just the risk of the evening. Sometimes the sound was unbearable even then, sometimes (no, eh, almost always) the old man grumbled into some of the magic that he alone had to hold the nylon-string guitar once so good, that they as generations of lovers and their parents best of Anlehnmusik had appeared.

But only in passing, sound only in passing. Cohen is the Word and the Word was Cohen. He recited and whispered, sang and trembled through the tender words about and for women with roses between their teeth, "which he had once written for Marianne Faithfull, Nico, or to drop well hidden that the" Submit a channel in the TV poor people have "lost the" good war "have (what" everybody knows ") and he finally just" working for our smile "to his" rent in the tower of the songs will be made. But these bitter Hinterlistzeilen, which he gently sprinkled over the coals, he deserves re-drawn to the hat, with whom he had dismissed us as "friends" into the night.

Bratislava, Slovakia

Set List - August 28, 2009

Per bluebell and iveta 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
Lover Lover Lover
Waiting For The Miracle
The Flood (recitation)
Anthem

Second Set

Tower Of Song
Suzanne
Sisters Of Mercy
Hey, That's No Way To Say Goodbye
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

Bratislava, Slovakia

ENGLISH VERSION.

Básnik Cohen spieval v Bratislave. S noblesou a pokorou

Kultúra.sme - August 29, 2009 by Jana Cevelová (Photos: CTK)

Translated by Google Translate

Poet Cohen sang in Bratislava. The nobility and humility

Kultúra.sme - August 29, 2009 by Jana Cevelová (Photos: CTK)

BRATISLAVA. It was like every time you listen to Cohen. Comfort.

On Friday evening arrived Canadian songwriter Leonard Cohen for the first time in Slovakia and its world tour played concert, which was most happy about the more than 3500 spectators.

Throughout the concert, it radiated humility not only to their colleagues on the stage, but also to the spectators.

Their concert started exactly at 20.00 pm as it was planned, which surprised a number of stragglers.

The concert started with the song Dance Me To The End Of Love, and as in the case of Cohen almost literally true, what song is hit, it was a parade inspection. Nearly three hours of OFF concert soon 75-year-old singer, songwriter, poet and writer odspieval with charm and refined.

In a black suit and hat, squat, crushing the eyes and microphone appeared fragile and vulnerable places. However, grabbed a guitar in your hand, and in turn offset the one Cohen was at a younger edition.

Although neodspieval Everybody knows his classical drive and insistently, but rather in a chamber style, Suzanne, So Long Marianne and especially rozcitliveli I'm your man - even if you sat back up and without air. Pure poetry.

The knees

Part odspieval speeches to both knees. There were no further hits such as First We Take Manhattan, Hallelujah, Bird on the wire Famous blue raincoat.

Humility and particular tribute to my colleagues on the stage of Cohen was felt throughout the concert. For the entire three hours neodišiel the podium not once. Even when he had to stand out supporting the band and vocalist in solo cuts. The whole time he stood on the podium, hat held in his hand and listened.

Large space left Spanish musician Javier Meat and his guitar or dvanást(strunovej California diNovo Soldo, who played the saxophone. Presenting both forgot to add the menu maestro.

The space given to the Boogie Street and longstanding collaboration, Cohen - singer Sharon Robinson, but also nurses Webb.

Cohen is particularly apt to not leave allowances, they have already returned, odspieval least two to three songs. And he did so three times. Finally, the singer had I Tried To Leave You with the addendum that already has 75 years, however, prevent him always cheerful springs from below the stage.

Cohen concert in Bratislava is part of a worldwide tour that started last year in May in Canada and completed it in November in the U.S.. The London concert was album Live in London.

Bratislava, Slovakia

ENGLISH VERSION.

This is it!

Die Jüdische - August 29, 2009 by Samuel Laster

Leonard Cohen konnte in Bratislava dank guter Teamleistung überzeugen

Knapp nach 20 Uhr kommt ein Mann mit Hut auf die Bühne. Drei Backgrundsängerinnen, sechs Musiker, aufmerksames klatschfreudiges Publikum. 41 Jahre nach der Niederschlagung Des Prager Frühlings- pardon, 41 Jahre und sieben Tage -- hat die Musik nichts von ihrer Kraft verloren- Leonard Cohen ist aktuell und prägend wie eh und je.

Der junge Poet trieb sich wohl anno 1968 mit Janis Joplin im "Chelsea Hotel" herum. Stacheldraht und Unterdrückung war damals, grenzenloses Europa mit Euro und Schengen ist heute. Wien verbindet mit Bratislava Geschichte, Tradition und ein "Twin City Liner" -- in 75 Minuten entlang der Donau.

"Dance me to the end of love" eröffnet den Abend. Cohen geht keine Experimente ein, setzt auf seine "Greatest Hits". Das Publikum nimmt es dankbar auf. "I didn't come to fool you Bartislava" in "Halleluya", eine sehr dichte atmosphärisch schlüssige Interpretation vom "Partizan", stimmlich wie körperlich voll disponierte Backgrundsängerinnen und ein Musikteppich der Extraklasse. Es ist ein gutes Team um Leonard Cohen, das die Musik des 74-jährigen trägt.

Cohen erweist seinen Musikern mehrmals am Abend absolute Reverenz. Stellt sich als Teamspieler dar, sehr bescheiden- ziemlich verbindlich. Die Zugaben- eröffnet mit "Famous Blue Raincoat" --enden mit einer Art kollektiven Andacht.

Auf den T-Shirts der Merchandising Verkäuferinnen steht "Beautiful Losers" als Verweis auf des Dichters erster Novelle . Leonard Cohen hat das geschafft, was Michael Jackson nicht vergönnt war- in Würde alt zu werden.

Ein Hauch von Abschied und Wehmut lag in der Luft, als nach etwa zwei Stunden und 45 Minuten Konzert im Incheba Expo Center Bratislava die Verstärker ausgestöpselt wurden. Einige Israeli waren auch schon da, versprachen am 24.September in Ramat Gan wiederzukommen.

This ist it - das wars - das isses - das wird's sein.

Translated by Google Translate

This is it!

Die Jüdische - August 29, 2009 by Samuel Laster

Leonard Cohen was able to convince Bratislava thanks to good team performance

Just after 20 clock, a man with his hat on the stage. Three back ground singers, six musicians, klatschfreudiges attentive audience. 41 years after the crushing of the Prague Spring pardon, 41 years and seven days - the music has lost none of its power Leonard Cohen is current and influential as ever.

The young poet in the year 1968 probably drove around with Janis Joplin in "Chelsea Hotel". Barbed wire and oppression was then, and Schengen borderless Europe with euro is today. Connecting Vienna and Bratislava history, tradition and a "Twin City Liner" - in 75 minutes along the Danube.

"Dance Me to the End of Love" opens the evening. Cohen is not making any experiments, put on his "Greatest Hits". The audience takes it gratefully. "I did not come to fool you Bartislava" in "Halleluya", a very dense atmosphere conclusive interpretation of the "Partizan", vocally and physically fully disposed pad backing singers and a musical tapestry of class. It is a good team to Leonard Cohen, which carries the music of the 74-year-old.

Cohen turns his musicians on several occasions in the evening absolute reverence. Presents itself as a team player, very modest and very authentic. The Pack opens with "Famous Blue Raincoat" - end up with a kind of collective worship.

Stands on the t-shirt and merchandise sales clerks "Beautiful Losers" as a reference to the poet's first novel. Leonard Cohen has done what was Michael Jackson is not allowed to grow old in dignity.

A touch of sadness and farewell was in the air, when after about two hours and 45 minutes Incheba Expo Center concert in Bratislava, the amplifiers have been unplugged. Some Israelis were there, too, promised to come back on September 24 in Ramat Gan.

This is it - that's it - the isses - this will be one.

Bratislava, Slovakia

ENGLISH VERSION.

Spievajúci básnik Cohen vystúpil na Slovensku

Topky - August 29, 2009 by CTK (Photos: SITA)

Translated by Google Translate

Singing poet Cohen spoke in Slovakia

Topky - August 29, 2009 by CTK (Photos: SITA)

BRATISLAVA - "I'm your man," he sang on Friday night for the first time live his Slovak fanúšic(kám legendary Kannada poet and musician Leonard Cohen.

Singer with an unmistakable expression of which is currently experiencing a major comeback after a 15-year break, showed that even less than a month before his 75th birthday is still in good condition and no problem happen almost three hours of OFF concert. Delay is worthwhile, the poet is singing to himself, unlike other stars, did not wait pseudohviezd evening and opened the hit Dance Me To The End Of Love.

"Thank you for your warm reception. It is a great honor to play for you tonight," greeted his captivating voice, a bit later, the audience, which consisted mainly middle generation. Then the crushing eyes with a hat being put into the bow and sometimes on his knees, sang hits such as Everybody Knows. The glory is not shared with the band, lead guitarist left his Barcelona ringtones on 12-string instrument, vocalist, clarinetist, but also on several brass instruments. The second part started with one of his most famous songs, Suzanne. He wrote her once about a woman, which could only dream of, because it belonged to his friend.

The audience, however, also enjoyed the other songs, which recognized, for example hymnickej Hallelujah. And when the evening draws to an end, began the farewell song and altered the text. "I did not come you stuff," he sang. "Bratislava," Idol said that five years hiding in a convent and now especially for female fanúšic(ky vábil song I'm Your Man. "Thank you for your nice attention," said the gentleman. After the farewell, however, was followed by another five grants, including hits First We Take Manhattan or Marriane So Long, which was inspired by one of his crush. Cohen arrived in Bratislava for two days, brought their own cook, and said the large amount of luggage. Special requirements may be mainly acoustic hall, which is not built for concerts. Finally, however, before 3670 people played like a concert without a large chamber decibels. Hall was sold out, but not crowded, as it only sold tickets for seating. Canadian icon in Slovakia stopped during a successful world tour.

Cohen is currently among the most influential songwriter, his songs is included in his repertoire and REM or Elton John. The latest issue of recording the concert in London, which is ranked among the best-selling records. The scene came back in 1967, but began as a poet. The music began to work in the second half of the 60th years, with albums from this period are as famous as his later recordings.

Bratislava, Slovakia

ENGLISH VERSION.

Leonard Cohen zdvíhal v Bratislave ludí zo sedadiel

Kultura.Pravda - August 29, 2009 by Matúš Kvasnicka (Photos: SITA and CTK)

Translated by Google Translate

Leonard Cohen to lift people from the Bratislava seats

Kultura.Pravda - August 29, 2009 by Matúš Kvasnicka (Photos: SITA and CTK)

Fantastic. That could be summarized in one word dublin concert Leonard Cohen. Not that the legend that is the music scene for over forty years. Not because it could be the last chance to see him live in these parts. But because Cohen did not offer sebastrednú one man show. The stage sounded perfect harmony throughout the band.

Solemnly tuned Incheba Cohen is now in the eighth evening. "Thank you for your warm reception. I do not know whether we will ever have here, so you play everything we can," Cohen said at the beginning of the concert.

In three hours of performances demonstrated over twenty hits. The strength of his style show, accompanied by the appropriate colored light, was built on a number of details. As soon as the second song evening song The Future, Shading country guitar in the introduction, two of the trio suddenly did vokalistiek millstones round. Or if feebly active grandpa Cohen before the break vivaciously odskackal the stage and knees while rises high above the earth.

The singer is surrounded brilliant musicians. Among these prominent virtuoso musician Dino Soldo, who asked whether applause played mouth-organ, clarinet and saxophone. Large space also received Javier Mas, who played the guitar dvanást(strunovej, bandurrii and other stringed instruments.

Cohen Mugo often sang on stage with crushing eyes. Another time was taken into the hands of guitar and played a song odspieval stood calmly and wrinkled knees. When one of vokalistiek, Sharon Robinson, shared beliefs in Balad fragile In My Secret Life, sang a piece from each one over the other. The air was something magical. Recently Robinson this song along with Cohen passed. It also co-wrote other hits, including songs Everybody Knows, which also were voiced during the evening. Robinson also received a separate room in the Boogie Street.

Subtle prayer If It Be Your Will odrecitovaním Cohen said the first few verses. "If it is your will ... abate," he says in it. Then, abruptly stopped, and the song actually sung two other vocalist, Webb sisters, one with the guitar, the other with a small harp, accompanied by pianist yet. Webb, together with his gentle Robinson laments accompanied Cohen whole concert atmosphere and significantly dotvárali mostly slow, pliant songs.

Burácalo audience throughout the concert. Not only when the singer added to the text, song Hallelujah Bratislava. Otherwise, seated spectators expressed Cohen and his band several times favor the standing applause. A majority now classic hits applause greeted at the beginning.

Cohen is the farewell song Bratislava Whither Thou Goes with it a capella sung by all members of his group. Then he blessed the audience. But it was not. Blessing and a real caress the soul of courtesy he was the concert itself.

Bratislava, Slovakia

ENGLISH VERSION.

Ovácie a bravo! V Bratislave koncertoval legendárny Cohen

Aktuálne - August 29, 2009 by Michal Burza

Translated by Google Translate

Applause and bravo! In Bratislava, the legendary concerts Cohen

Aktuálne - August 29, 2009 by Michal Burza

Bratislava - Less than 24 hours after the concert of American singer Macy Gray spoke in Incheba Kannada folk musician Leonard Cohen. It does not happen often to the Slovakian capital managed to sell out in advance concert foreign artist, but also does not happen often enough to Slovakia chodievali real musical personality.

Cohen has sold out more than a week in advance, and despite the relatively high price of tickets. Already on arrival at Petržalka exhibition and look at the luxury cars parked and people dressed formally, it was clear that Friday's concert will be a major cultural event for music fans.

This is further corroborated by the fact that Incheba were almost no space for parking, which created the impression of the theater before a music stand. Sedemdesiatštyriroc(ný Canadian launched its appearance on the eighth hour in the evening, as originally advocated.

Warm welcome

He began his song Dance Me To The End Of Love, which opens the regular appearances on his current and last world tour. In the following segments and The Future Is not No Cure for Love was first talked about 4-strong audience.

"Thank you for your warm welcome. I have the honor to play for you tonight," said Cohen. Offspring of Jewish parents in the first part odspieval speeches for six songs, which had to excel and his supporting band. After the song The Anthem doprial audience of approximately 20-minute break.

The second block of classic songs opened a piece of Tower of Song. Cohen odspieval after one of their biggest hits ballad "Suzanne. Member of the Canadian Music Hall of Fame, he sang all night in English, but as the song The Partisan comfort and lovers of French when he sings a few verses in this language.

Right after a little recuperation of vocal expression and left the Grammy winner Sharon Robinson one of the female's numerous musical accompaniment. The legendary, notorious hit Hallelujah But already he sang. While interpretations of text incorporated into the word Bratislava, for what you earned rapturous applause.

Last two songs of the second part of the concert were songs I'm Your Man and "Valcikova" Take This Waltz. Cohen dressed in his typical for a dark suit with a hat on his head then Incheba pay homage by standing ovation.

The audience did not want to end

Musician who is on the scene with a break for unbelievable 53 years, to thank them for the two allowances beautiful So Long, Marianne and rhythm First We Take Manhattan.

On Friday evening, but the benefits have been divided into several parts. Cohen opened the second song Famous Blue raincoat. Was extremely touching poem If It Be Your Will, by Canadian and British duo odrecitoval Webb Sisters then sung, and happened in such a way that from the naskakovali goosebumps. Other standing ovation Cohen forced to remain on stage after the song Closing Time.

"I try to go," sang a native of Quebec on the 23rd o'clock, but was still against Incheba. Everything was beautiful, however, ends once and so it was also late on Friday evening. Definitely the last song she had Whither Thou goes.

Several standing ovation, sold out tickets before the concert, three-hour speech full of songs with the idea that Leonard Cohen was in Bratislava on their first and probably the last concert in his life, which he let escape, among other actors such as Kn(ažko Milan, Milan Lasica, actress Emilia Vášáryová, the current Culture Minister Marek Mad(aric( whether the Slovak Ambassador to Hungary, Peter Weiss.

Bratislava, Slovakia

ENGLISH VERSION.

Cohen má za sebou koncert v Bratislave, ted' mírí do Prahy

TÝDEN - August 29, 2009 by CTK (Photo: CTK)

Translated by Google Translate

Cohen has a concert in Bratislava, now heading to Prague

TÝDEN - August 29, 2009 by CTK (Photo: CTK)

The Czech Republic returns the second time Cohen, Slovak prvne(.Po year after the premiere of the Czech audience today in Prague once again perform the Canadian songwriter Leonard Cohen. C(tyr(iasedmdesátiletý musician in concert is almost sold out O2 Arena, organizers expect to visit about 14 thousand spectators. On Friday evening reap success at a sold-out concert in Bratislava.

The concert lasting over three hours the audience will introduce songs from more than forty years of his career. The stage plays about the top 25 Cohenových hits. Listeners are likely to see tracks such as Bird On The Wire, Who By Fire, Hallelujah, So Long, Marianne. Cohen on his current world tour is accompanied by the band led by bassist Roscoe Beck.

Singing Poet Cohen spoke at the first Slovak

"I'm your man," he sang on Friday night for the first time live his Slovak fanynkám legendary Canadian musician and poet. Singer with the unmistakable expression, which is currently experiencing a big comeback after the fifteen-year interval, revealed that less than a month before his 75 birthday, is still in good condition and has no problem to play almost three-hour concert.

The evening opened hit Dance Me To The End of Love. "Thank you for your warm welcome. It is a great honor to play for you tonight," he said compelling voice a little later, the audience, which consisted mainly of the middle generation. Then I narrowed eyes, with a hat mounted on the forehead and sometimes on his knees singing hits such as Everybody Knows.

The glory, however, shared with the band, solo guitarist had his Barcelona, vokalistkám, as well as clarinetist. The second part started with one of his best known songs Suzanne. He wrote her once about a woman, which could only dream of, because they were his friend.

Audience comforted other songs, sounded hymnické Hallelujah, I'm the favorite fanynkama Your Man, First We Take Manhattan and Marriano So Long, to which he inspired one of his loves.

Travel with your own chef

Cohen arrived in Bratislava for two days, he brought his own chef and a large amount of luggage. Specific requirements, however, mainly on the room acoustics, which is not designed for concerts. Eventually, however, the 3 670 people played more like a chamber concert without major decibels. The concert was sold out, but not crowded, as it only sold tickets for the session.

Cohen was born in 1934 in a Jewish family in Montreal. He began his career as a poet and writer, the music came out in favor of the second half of the 60th years. In 1967 released their debut album Songs of Leonard Cohen.

The most recent album entitled Dear Heather Cohen was released in 2004. In addition to the many songs he wrote two novels. In 2006 published a book of poems, rhymes, aphorisms and images named Book cravings, which last year published in Czech.

Bratislava, Slovakia

ENGLISH VERSION.

V Bratislave vystúpil v piatok legendárny Leonard Cohen

TA3 - August 29, 2009

Translated by Google Translate

In Bratislava, on Friday made the legendary Leonard Cohen

TA3 - August 29, 2009

Less than 24 hours after the concert of American singer Macy Gray spoke in Incheba Kannada folk musician Leonard Cohen. It does not happen often to the Slovakian capital managed to sell out in advance concert foreign artist, but also does not happen often enough to Slovakia chodievali real musical personality. Cohen has sold out more than a week in advance, and despite the relatively high price of tickets. Already on arrival at Petržalka exhibition and look at the luxury cars parked and people dressed formally, it was clear that Friday's concert will be a major cultural event for music fans. This is further corroborated by the fact that Incheba were almost no space for parking, which created the impression of the theater before a music stand.

Sedemdesiatštyriroc(ný Canadian launched its appearance on the eighth hour in the evening, as originally advocated. He began his song Dance Me To The End Of Love, which opens the regular appearances on his current and last world tour. In the following segments and The Future Is not No Cure for Love was first talked about 4-strong audience. "Thank you for your warm welcome. I have the honor to play for you tonight," said Cohen. Odspieval offspring of Jewish parents in the first part of speeches for six songs, which had to excel and his accompanying band. After the song The Anthem doprial audience of about 20 -- minute break.

The second block of classic songs opened a piece of Tower of Song. Cohen odspieval after one of their biggest hits - ballad "Suzanne. Member of the Canadian Music Hall of Fame, he sang all night in English, but as the song The Partisan comfort and lovers of French when he sings a few verses in this language. Right after a little recuperation of vocal expression and left the Grammy winner Sharon Robinson - one of the female's numerous musical accompaniment. The legendary, notorious hit Hallelujah But already he sang. While interpretations of text incorporated into the word Bratislava, for what you earned rapturous applause. Last two songs of the second part of the concert were songs I'm Your Man and "Valcikova" Take This Waltz.

Cohen dressed in his typical for a dark suit with a hat on his head then Incheba pay homage by standing ovation. Musician who is on the scene with a break for unbelievable 53 years, to thank them for the two allowances - beautiful So Long, Marianne and rhythm First We Take Manhattan. On Friday evening, but the benefits have been divided into several parts. Cohen opened the second song Famous Blue raincoat. Was extremely touching poem If It Be Your Will, by Canadian and British duo odrecitoval Webb Sisters then sung, and happened in such a way that from the naskakovali goosebumps. Other standing ovation Cohen forced to remain on stage after the song Closing Time. "I try to go," sang a native of Quebec at 23.00 but was still against Incheba. Everything is beautiful, however, ends once and so it was also late on Friday evening. Definitely the last song she had Whither Thou goes.

Several standing ovation, sold out tickets before the concert, three-hour speech full of songs with the idea that Leonard Cohen was in Bratislava on their first and probably the last concert in his life, which he let escape, among other actors such as Kn(ažko Milan, Milan Lasica, actress Emilia Vášáryová, the current Culture Minister Marek Mad(aric( whether the Slovak Ambassador to Hungary, Peter Weiss.

Bratislava, Slovakia

ENGLISH VERSION.

Leonard Cohen ponúkol Bratislave nádherný vecer

HNOnline - August 29, 2009

Translated by Google Translate

Leonard Cohen has offered a wonderful evening Bratislava

HNOnline - August 29, 2009

It was a wonderful evening, said many visitors when leaving the Incheba Expo Arena on Friday evening, half an hour before midnight.

He prepared a wonderful evening of Kannada poet and singer Leonard Cohen. Kannada bard incorporate the European part of world tour concerts between Slovak cities and metropolis.

Friday evening was a real musical feast. Massive applause filling the arena got Cohen and his band have already arrived at the concert stage. He then read an arena after almost every song during the three-hour speeches. Flagship was known song Dance Me To The End Of Love, followed by The Future Is not No Cure For Love Bird On The Wire, another fifth-known hit "Everybody Knows, In My Secret Life Who By Fire. Anthem introduced into the first song the band and vocalist, this time not repeated at the end of the concert.

The first song to break the Tower of Song, after the hit on the waiting hall filled - Suzanne, another was the Gypsy's Wife, Boogie Street, another major hit Hallelujah Democracy I'm Your Man Take This Waltz So Long, and, Marianne.

Simple but elegant concert stage, only rigged webbing and Salma horizon and with the rear chamber tuned lighting rather resembled theater or a concert of classical music. So much excelled songs that Cohen unmistakable interpretation offered him in the typical suit with a hat on his head and eyes during the crushing vocals. The whole impression umocnila accompanying band, composed of experienced musicians who excel individual performances, but most precise zohratost(ou. Its leader is the bass guitarist Roscoe Beck, who works with Cohen has 30 years, the sextuplet also includes keyboard player Neil Larsen, guitarist Bob Metzger, Javier Mas, who plays the traditional Spanish instruments Bandura, laude and dvanást(strunovú guitar, percussionist Rafael Bernardo Gayol instruments and keyboards player and woodwind instruments Dino Soldo. Stage three report supplement vocalist - Sharon Robinson and sisters Hattie and Charley Webb from Great Britain.

After the final song followed by a lengthy standing ovation. Three times the audience vytlieskalo singers comeback. And Cohen came to thank and added a song. Thank you for the wonderful evening and I wish you good night, were his final words of farewell.

European part of the world tour began Leonard Cohen 1st July in Cologne, Germany 24th and ends September in Tel Aviv, Israel. Came to Bratislava from Vienna, where the concert was two days before, already has planned speech in Prague. The August tour plan has ten concerts in September, only four, which occurs in Spain. The 75th Day birthday to celebrate the 21st in September he will applaud the audience at the concert in Barcelona.

Born in Montreal, Canada, singer, guitarist, songwriter, poet and novelist Leonard Norman Cohen has already attracted the attention of the university as a student poet. In 1955 he builds the first poetry collection, in 1963 the first novel. In 1967 he moved to the U.S. and started to address music, first as an author, artist, later as their own songs. In December 1967 issued the first album, Songs of Leonard Cohen. Hit it became a song Suzanne. They have now 11 studio and live albums. In March 2008 he introduced into the U.S. Rock and Roll Hall of Fame. Two years previously was inducted into the Hall of Fame in his native Canada and has received the highest Canadian decoration Order of Canada.

Bratislava, Slovakia

ENGLISH VERSION.

Méltósággal és alázattal

Új Szó - August 31, 2009 by Maria Vrabec

Feledhetetlen zenei és nem túlzok, ha azt írom, mély lelki élményben is részük volt azoknak, akik jegyet váltottak Leonard Cohen pénteki pozsonyi koncertjére.

A kanadai, zsidó származású buddhista költo" és zenész olyan méltósággal és mégis akkora alázattal énekelt, olyan hangulatot teremtett, hogy az Incheba Arénában összegyu"lt háromezerötszáz nézo" úgy érezhette, szertartáson vesz részt, a zene és a szó ünnepén.

Cohen elo"ször azzal lepte meg a közönséget, hogy pontosan kezdett, a meghirdetett ido"pontban, nyolckor kijött a színpadra, és ügyet sem vetve a helyüket a mobiltelefonok fényénél kereso" nézo"kre, belefogott a Dance Me To The End Of Love címu" számba. Nem zavartatta magát, énekelt, mert azért jött ide, és a személyes kisugárzása meg a dalok hatása olyan ero"s volt, hogy perceken belül mindenkit magával ragadott. Mivel szinte minden dala ismert, nem tartogatta a poénokat a végére, az egész koncert valóságos slágerparádé volt. Elhangzott többek között a Suzanne, a So Long Marianne, a Hallelujah, az I'm Your Man, az In My Secret Life, a First We Take Manhattan, a Famous Blue Raincoat, a Bird On The Wire... mind-mind kristálytisztán, szinte stúdiómino"ségben, és szuggesztív ero"vel. Cohen fekete öltönyben, nyakkendo"vel, fekete kalapban, kissé meggörnyedve állt a színpadon, bal tenyerével a mikrofont takarva, mintha csak arra vigyázott volna, nehogy egyetlen szó vagy hang is elvesszen.

Egy törékeny, mégis lélekben ero"s öregember benyomását keltette, aki mindent tud már az életro"l, amit tudni lehet, de mégsem veszítette el a hitét. Csak akkor egyenesedett ki, amikor gitárt fogott - ilyenkor újra az a sármos férfi volt, aki no"k ezreit bolondította meg világszerte bársonyos, mély hangjával. A dalok egy részét térden állva énekelte végig, mintha imádkozott volna mély átéléssel és benso"ségesen, de ebbo"l a bu"vkörbo"l mégsem zárta ki a közönséget. Az alázat és a tisztelet jellemezte a zenésztársaihoz való hozzáállását is, a hangszerszólók és a vokalisták szólóbetétei alatt sem ment le a színpadról, kalapját a kezében szorongatva hallgatta o"ket. A koncert során kétszer is bemutatta a zenekart: a basszusgitáros Roscoe Becket, a billentyu"s Neil Larsent, az üto"hangszereken játszó Rafael Gayolt, a szólógitáros Bob Metzgert, a spanyolgitáros Javier Mast és a szaxofonon játszó Dino Soldot, valamint a vokalista Sharon Robinsont és a Webb no"véreket - mindegyiküknek mély fo"hajtással adózva.

Jól tették, akik a szünet után is ido"ben elfoglalták a helyüket, mert Cohen ismét ido"ben érkezett, barátno"m meg is jegyezte, hogy biztosan végig az órát figyelte az öltözo"jében, aztán amint elütötte a fél tízet, fejébe nyomta a kalapját és elindult a színpad felé. A második felvonás sem hatásában, sem hangulatában nem maradt le az elso" mögött, Cohenon a fáradtság legapróbb jelét sem lehetett tapasztalni, so"t, mintha egyre inkább belejött volna. Hagyta érvényesülni a zenészeket, a Grammy-díjas Sarah Robinson is elénekelt egy számot, a Boogie Street címu"t, de mindvégig Cohen uralta a színpadot, még akkor is, amikor a háttérben állt és hallgatott. Amikor megszólalt, egyszerre volt személyes, de nem tolakodó, diszkrét és mégis kitárulkozó, fájdalmasan igaz és mégis léleksimogató. Talpig úriember, akit nem a konvenciók tettek azzá, hanem a lelki gazdagsága.

Az utolsó szám a Take This Waltz volt, amelyet a magyar közönség Zorán tolmácsolásában Volt egy tánc-ként is ismer, és a hetvenöt éves Cohen egy kamasz huncutságával kiszökdécselt a színpadról. De nem hagyta sokáig kéretni magát, háromszor jött vissza az állva tomboló közönség kívánságára, és mindháromszor legalább két dalt énekelt. Sokak számára a koncert sprituális csúcspontja volt a Webb no"vérek által elo"adott If It Be Your Will címu" dal hárfakísérettel és valami olyan éteri, tiszta hangon, hogy az angyalok éneke lehet hasonló. Kár lett volna, ha nem vagyunk elég kitartók, és ezt már nem halljuk. Cohen stílusosan a Zárórával (Closing Time) búcsúzott, majd a szu"nni nem akaró tapsnak engedve még az I Tried To Leave You-t is elénekelte, kalaplevéve köszönve meg a közönségnek az élményt. Részünkro"l a szerencse, mister Leonard Cohen!

Translated by Google Translate

Dignity and humility

Új Szó - August 31, 2009 by Maria Vrabec

Unforgettable music and I'm not exaggerating when I write it, was part of a deep spiritual experience for those who booked Leonard Cohen concert Friday night in Bratislava.

The Canadian Jewish Buddhist poet and musician, but a dignity and humility as much singing, creating a mood that the viewer is Incheba Arena gathered háromezerötszáz felt taking part in ceremonies, music and celebration of the word.

Cohen, first with surprise the audience that started exactly the advertised time, eight came on the stage, and ignoring the truth in mobile phones, viewers seeking light, embarked on a Dance Me To The End Of Love song. Do not bother herself singing, because he came here, and the personal effects of radiation of the songs was so strong that within minutes everyone fascinated. Since almost all the well-known song, the jokes are not tartogatta the end, the whole concert was a veritable hit parade. Stated, inter alia, Suzanne, So Long, Marianne, the Hallelujah, I'm Your Man, In My Secret Life, First We Take Manhattan, Famous Blue Raincoat, a Bird On The Wire ... are all crystal clear, almost stúdiómino"ségben and suggestive power. Cohen's black suit, tie, black hat, the stage was slightly bent, his hands left the microphone being covered up, as if it had been careful to avoid a word or sound is lost.

A fragile, yet strong in spirit gave the impression of an old man who already knows everything about life, you know, but can not lose your faith. Egyenesedett Only then, when caught guitar - then again, the charming man who had thousands of women worldwide bolondította soft, deep voice. The songs were a part on my knees singing along, as if praying Immersion have deep and intimate, but this bu"vkörbo"l not exclude the public. Humility and respect which characterizes the attitude of zenésztársaihoz, the hangszerszólók and vocalist szólóbetétei did not go down below the stage, clutching his hat in his hand to hear them. The concert is presented twice during the band: bassist Roscoe Beck, Neil Larsen on keyboards, the percussionist plays Rafael Gayolt, the lead guitarist Bob Metzger, Javier spanyolgitáros the Mast and the saxophone playing Dino Soldo, and vocalist Sharon Robinson and the Webb sisters - fo"hajtással tribute to his depth of them.

Well done, those who took time to break even after the truth, because Cohen's time once again came to my friend also said to be sure that through the dressing room watching the clock, then hit the party as ten, his head in his hat and walked towards the stage. The second act does not effect or mood is not left behind from the first, Cohen slightest sign of fatigue could not be experienced, even though more and more have been having his way. Failed to prevail in the musicians, the Grammy Award winner Sarah Robinson, also sang a number of Boogie Street address, but always Cohen ruled the stage, even when the background and was silent. When he spoke at one time was personal but not intrusive, discreet and yet revealing, and yet painfully true léleksimogató. All dressed gentleman, who was not in the convention made me, but also spiritual wealth.

The last number in the "Take This Waltz, which was Zorán interpretation of Hungarian public had a dance also known as, and seventy-five years of Cohen, a teenager huncutságával kiszökdécselt the stage. But he did not long kéretni, three came back to the audience delirious standing request and mindháromszor at least two songs she sang. For many, the concert was the culmination sprituális by Webb Sisters If It Be Your Will put song hárfakísérettel something so ethereal and clear voice that can be like the angels singing. Latvian would be a shame if we are not very persistent and it no longer hear. Cohen's style of Zárórával (Closing Time), said good-bye, and then the protracted applause leaving the I Tried To Leave You "is sung, kalaplevéve thanks to the audience experience. Good luck for us, Mr. Leonard Cohen!

Bratislava, Slovakia

Leonard Cohen: I didn't come to fool you

The Slovak Spectator - September 7, 2009 by Beata Balogová (Photo: SME)

“I'VE TOLD the truth, I didn't come to Bratislava to fool you,” he said, in the melancholic voice that has found its way into the hearts of even those Slovaks who were unable to fully taste all the shades of his sublime poetry.

Leonard Cohen walked on to the Bratislava stage with the modesty of the wise and dignity of a poet and told his audience that since he does not know when he and his Unified Heart Company would next come to town, they would give everything they had.

And so he did on August 28: Take This Waltz, Famous Blue Raincoat, So Long Marianne, If It Be Your Will, Suzanne, Hallelujah, Dance Me to the End of Love, First We Take Manhattan, In My Secret Life, The Future, The Tower of Song – to name but a few of the Cohenian gifts.

The 75-year old Canadian poet, singer and songwriter started his concert right on time, in a gentlemanly gesture which surprised those who arrived late, fooled by the assumption that mega-stars make the audience wait for their blessings. Not Leonard Cohen, who has it all: the grace and diligence of a man who is prepared to spend long weeks on a line of poetry until he can feel the pulse of the verse and is sure others will feel it too.

Bratislava’s Incheba Arena received a more decorous and elegant outfit than it would get for a run-of-the-mill concert. And it received Cohen, who sang most of his songs with his eyes closed and often went down on his knees, as though constantly paying respect to all the muses who have inspired him during his lifetime.

Perhaps because of that blend of intense fragility and strength, there was something personal in the way he connected with the public, something that opened for him the hearts of everyone who came that night to hear him. Many regarded the concert as perhaps the last chance to see Leonard Cohen performing, but when he took his guitar and played his music, such thoughts suddenly appeared indecent. Instead, one thought: may he just go on forever.

Bratislava, Slovakia

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