Leonard Cohen dazzels Zaragoza whispering with his words
The three leading singers Leonard Cohen as a counterpoint to their chants of Jewish prophet, began to the tune of Dance me to the end of love and the whole audience was pending from the scene of Pabellón Príncipe Felipe [the name of the scenario], rocking in this melancholic song, with the tenor sax , the counter melody.
Cohen was a whisper yesterday, a reciter correct and existential well flanked by a team of soloists who got on stage blues, folk, country, soul, flamenco and jazz. If the temper bullfighter is to collect the momentum of the bull with a shorter way, that was yesterday's task Canadian caressing and enveloping.
The mandolin of Javier Mas put to the song The Future in the Mediterranean: "I've seen the future, brother, and it is murder." The great scene with blue lights was unfathomable.
A backflip from the Webb sisters did think about those tafishnks of expensive restaurants, where they are perceived slight movements: an antenna here, a clip there ... The musicians played mired in the strictest minimalism of gestures. And against the lights were like the shadows of the penitents of Bergman's "The Seventh Seal". Pure spirit.
KNEELING
Leonard Cohen began "Ain't no cure for love", kneeling, as a Buddhist monk and then lifted into the great hall in the dark with the song "Bird on the wire:" Like a bird on the wire / Like a drunk in a midnight choir / I tried my way to be free ...". What an epitaph. It was a long wail of the singer after being scaled by the sound of the seven-branched candelabrum, with metal Dino Balance at her side.
The singer took off his hat politely, with each soloist. It seemed a notary getting up suddenly from the head of the table and being made to sing as one would expect only a notary, courteous, consistent and correct, but with chilling lyrics: "And sometimes when the night is slow/The wretched and the meek/We gather up our hearts and go/A thousand kisses deep "(A thoussand kisses deep).
Spain sounded in the innards of this massive leatherback Javier Mas and his hat silhouette in the background was like the advertisement of Tio Pepe [The trademark of a brand of Sherry. The spotlight on Javier Mas maked a shadow that was like the form of the brand of "Tio Pepe Sherry": the silhouette of an Andalousian man wearing a waist coat and an Andalousian hat]. The bass, Roscoe Beak, marked rhythms and harmonica accompanied the profound Cohen. ... Hearing last night was like hearing the ocean, a wave, another, another ... with a sense of momentum at infinity.
Leonhard Cohen played on a Casio keyboard as the notary who planted a firm somewhat extravagant. Arriving Suzanne, soothing and sad, the show had gained height in the second half. The composer had lost the rights to her, but she claimed to hear her sing on a barge in the Caspian Sea.
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