Leonard Cohen extended his legend with a memorable concert in Madrid
EFE Madrid - 13/09/2009
Dressed in his dark and cavernous baritone timbre, the same he has illuminated memorable compositions for forty years, Leonard Cohen has delighted three hours to the 10,000 spectators that night at the Palacio de los Deportes de Madrid, have met to enjoy a cult artist.
It matters little whether they were fifteen years without stepping on a stage, because they might have been twenty or thirty Cohen would not have lost the voice of old that has characterized it since its debut back in 1967, nor the staff capacity to thrill their audiences .
No matter if he returned because his agent cheated him $ 8.5 million, leaving an empty pocket that forced him to resume the activity which he left in 1993. Leonard Cohen has not returned to crawl, much less as his undoubted artistic quality has come through over time unbeatable.
The evening began at a pace that suggested the ironic strains of the ballad "Dance Me to the End of Love" which drew applause from an audience given to the gentlemanly bearing the singer-songwriter and poet.
The mob filled the air over the stalls with the delicious vocals of Sharon Robinson and Charley and Hattie Webb sisters in "There is not no cure for love", and with flashes of blues and country that offered "Bird on the wire .
The most catastrophic poetry made its appearance to the rhythm of "Everybody Knows," followed by the gospel touches of "In My Secret Life 'and the solo, several minutes' duration, guitarist Javier Mas starred in" Who by Fire. "
Cohen brought out all his powers of seduction on "Lover Lover Lover," while "Waiting for the miracle" heralded the arrival of the rest only artist who did the character in a marathon concert.
Social justice demands that "Tower of Song" gave the starting signal to the second part of the show, which took a leading role "Suzanne" and "Sisters of Mercy", both songs that reflect the womanizing side of Cohen.
The torn "The Gypsy's Wife" linked to "The Partisan", a song against tyranny, full of intensity, that the respectable acknowledged with a heartfelt ovation of several minutes.
"Hallelujah," an immortal piece that have covered, among others, Jeff Buckley, Willie Nelson, John Cale and Rufus Wainwright, represented one of the greatest moments of complicity between audience and artist, while "I'm your man" discovered the more romantic side of this maker of depressions.
Declared admirer of Federico García Lorca, Cohen did not miss the opportunity to pay tribute to the poet from Granada with "Take this waltz" and the revolutionary "First we take Manhattan," which slipped between "So Long, Marianne".
With the concert he enters his final straight, "Famous Blue Raincoat" ushered in the depression, but only as a prologue to the "Chelsea Hotel # 2" in which a nerve end, Cohen tells fellatio which presented him with Janis Joplin .
"Closing Time" and "I tried to leave you" put the finishing touch to the concert. "Thanks for keeping alive my songs," Cohen managed to say, excited, to the standing ovation that the audience paid him.
After a stint in Madrid, Leonard Cohen and his band continue to tour that will visit the Spanish town of Granada Atarfe-morning, Zaragoza-Day 15 - Bilbao-the 17 -, Valencia, the 18 - and Barcelona-el 21.
Womanfromaroom wrote:It must have been a great show; the Webb Sisters have posted on Facebook: "thank you Madrid"!
Aaah, not long now until Barcelona, either...
Leonard Cohen returns to rock Madrid
Sunday, September 13, 2009
LEONARD Cohen wowed 10,000 spectators for three hours at his show in Madrid last night.
Although the legendary rocker has not stepped on stage for 15 years, the audience declared it was as though he had never been away.
Cohen started off his repertoire with the ironic ballad Dance me to the end of love to a standing ovation from the crowd.
He then went on to revive musical memories for his fans with There ain’t no cure for love, Bird on the wire, Everybody knows, and In my secret life.
A self-confessed fan of Generation of ’27 poet and playwright Federico García Lorca, Cohen paid tribute to the Granada-born literary legend with Take his waltz¸ the revolutionary First we take Manhattan, and So long, Marianne.
“Thank you for keeping my songs alive,” an emotional Leonard addressed the audience during his concert.
He is due to play in Atarfe (Granada) tonight, before travelling to Zaragoza on Tuesday, Bilbao on Thursday, Valencia on Friday and Barcelona on Monday, September 21.
Jackster wrote:LEONARD COHEN (Madrid)
Review (in spanish, sorry): http://www.solo-rock.com/index.php?main ... =id&id=480
Photo Gallery (if you click in each photo, it opens on its best quality): http://www.solo-rock.com/galeria/displa ... ?album=432
http://www.solo-rock.com/index.php?main ... =id&id=480
LEONARD COHEN 2009-09-12
Sala: Palacio de Los Deportes
POR LA PUERTA GRANDE
El maestro se despide de Madrid con un recital histórico
Si hiciéramos un símil fácilón con el mundo de los toros, anoche LEONARD COHEN habría cortado las orejas y los rabos suficientes para salir a hombros por la puerta grande de la plaza. Resulta alucinante que un músico, a punto de cumplir los setenta y cinco años de vida y después de un retiro voluntario de los escenarios durante quince años, sea capaz de emocionar de una manera tan sincera a un público que estuvo entregado desde que le vio salir corriendo desde el lateral del escenario para comenzar un concierto que pareció que no tenía ganas (ni él, ni nosotros) de que terminara jamás, ya que comenzó pasadas las diez de la noche y no se puso el punto final hasta la una y cuarto de la madrugada.
Los que se hayan hecho con el ‘Live In London’ editado este año, pueden hacerse una idea de lo que ocurrió en Madrid. Un sonido perfecto acompañó a un concierto sin trampa ni cartón, con apenas unos sencillos pero resultones juegos de iluminación que acompañaron a los diez músicos sobre el escenario durante las veintisiete canciones del recital. Cohen sigue teniendo un halo especial, sigue siendo el “ladies’ man” que ha sido toda su vida y es que con esa voz tan característica es difícil no serlo.
Para los que pudimos verle el año pasado, si que pudimos comprobar que en esta ocasión, el maestro se enfundó la guitarra durante más canciones que entonces, como queriendo demostrar que no vive únicamente de su voz. En cualquier caso, el concierto fue memorable, tanto por repertorio como por ejecución. Las dos partes en que se estructura la actuación tienen el timing perfecto. La primera subiendo en intensidad poco a poco, desde “Dance Me To The End Of Love” hasta “Anthem”, donde nos presenta a su banda por primera vez pasando por auténticas joyas como “Bird On The Wire”, “Everybody Knows”, “Who By Fire” o una incendiaria revisión de “Waiting For The Miracle”, uno de mis temas favoritos de su discografía.
Tras el descanso y con todo el mundo esperando cantar sus mayores éxitos, Cohen nos ofrece eso, desde “Tower Of Song” hasta su homenaje a Lorca, “Take This Waltz” y sin apenas despeinarse ofrecernos espectaculares interpretaciones de “Suzanne”, “Sisters Of Mercy”, “The Partisan” o “Hallelujah” capaces cada una de ellas de ponernos los pelos de punta.
En los eternos bises (hasta tres veces dejó el escenario para regresar de nuevo), el público abandonó sus asientos para acercarse hasta primera fila y bailar himnos como “So Long, Marianne” y “First We Take Manhattan” y emocionarse hasta alcanzar las lágrimas con “Perfect Blue Raincoat” y sobre todo con un inesperado “Chelsea Hotel #2” que resultó catártico a esas alturas de actuación.
Y como vino, se fue. Con toda su gente sobre el escenario, agradeciendo al público haber mantenido vivas sus canciones durante este tiempo. Un ejemplo de lo que también se vivía en la grada, con familias completas congregadas entorno al poeta canadiense. No se muera nunca, maestro.
Setlist: (Set 1)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//(Set 2)Tower Of Song/Suzanne/Sisters Of Mercy/The Gypsy's Wife/The Partisan/Boogie Street/Hallelujah/I'm Your Man/Take This Waltz//(bis 1)So Long, Marianne/First We Take Manhattan//(bis 2)Famous Blue Raincoat/If It Be Your Will/Chelsea Hotel #2/Closing Time//(bis 3)I Tried To Leave You/Whither Thou Goest.
Cronica subida por Redacción el 2009-09-12
LEONARD COHEN 2009-09-12
Room: Palace of Sports
POR LA PUERTA GRANDE
The teacher says goodbye to Madrid with a historic concert
If we did a facile analogy with the world of bullfighting, Leonard Cohen last night would have cut off the ears and tails shouldered enough to leave through the front door of the plaza. It is amazing that a musician, about to turn seventy-five years old and after a voluntary recall of the scenarios for fifteen years, is able to excite a so sincerely to an audience that was delivered from that saw him leave running from the side of the stage to begin a concert it seemed that I did not feel (neither he nor us) that never ended and that began after ten o'clock at night and not put her final until a quarter of am.
Those who have done with the 'Live In London' published this year can get an idea of what happened in Madrid. A perfect sound accompanied a concert without cheating or cardboard, but with just a few easy games resultones lighting accompanied the ten musicians on stage during the twenty-seven songs in the recital. Cohen still has a special aura, remains the "ladies' man" who has been all his life and that that voice is so distinctive it is hard not to be.
For those who could see him last year if we could see that on this occasion, the teacher slipped on the guitar for more songs then, as if to show that he lives only in his voice. In any event, the concert was memorable, both as performance repertoire. The two parties that is structured performance have perfect timing. The first to rise gradually in intensity, from "Dance Me To The End Of Love" to "Anthem", which introduces us to her band for the first time through real gems like "Bird On The Wire," "Everybody Knows" "Who By Fire" or an incendiary review of "Waiting For The Miracle", one of my favorite themes of his discography.
After the break, with everyone waiting to sing his greatest hits, Cohen gives us that, since "Tower Of Song" to the tribute to Lorca, "Take This Waltz" and with little muss offer spectacular performances of "Suzanne," "Sisters Of Mercy "," The Partisan "or" Hallelujah "each able to get the creeps.
In the eternal encores (up to three times left the stage to return again), the audience left their seats to get closer to the front row and dance anthems like "So Long, Marianne" and "First We Take Manhattan" and excited to reach the tears with Perfect Blue Raincoat "and especially with an unexpected" Chelsea Hotel # 2 "that was cathartic at this point for action.
And when they came and went. With all the people on stage, thanking the public have kept alive their songs during this time. An example of this also lived in the stands, with whole families gathered around the Canadian poet. It never dies, master.
Setlist: (Set 1) 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 / / (Set 2) Tower Of Song / Suzanne / Sisters Of Mercy / The Gypsy's Wife / The Partisan / Boogie Street / Hallelujah / I 'm Your Man / Take This Waltz / / (repeat 1) So Long, Marianne / First We Take Manhattan / / (a 2) Famous Blue Raincoat / If It Be Your Will / Chelsea Hotel # 2/Closing Time / / (a 3) I Tried To Leave You / Whither Thou Goest.
Drafting rise by Chronicle 2009-09-12
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