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Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Tue Sep 25, 2012 8:58 pm
by pink_is_dead
Is it accurate the he dedicated "Suzanne" to Fabrizio De André? I didn't quite catch the name he mentioned.

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Tue Sep 25, 2012 9:33 pm
by sturgess66
Uploaded by manfish99 - Thanks!

Famous Blue Raincoat

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Tue Sep 25, 2012 10:00 pm
by Paul Zagreb
sturgess66 wrote:From Setlist fm ... def42.html

First Set
Dance Me to the End of Love
The Future
Bird on the Wire
Everybody Knows
Who by Fire
Sisters of Mercy
Hey, That's No Way to Say Goodbye
Come Healing
In My Secret Life
Going Home
Waiting for the Miracle
Second Set
Tower of Song
Night Comes On
Heart with No Companion
The Gypsy's Wife
The Partisan
Coming Back to You
(performed by the Webb sisters)
Alexandra Leaving
(performed by Sharon Robinson)
I'm Your Man
Take This Waltz
So Long, Marianne
First We Take Manhattan
Encore 2:
Famous Blue Raincoat
Save the Last Dance for Me
(The Drifters cover)
Encore 3:
I Tried to Leave You
Take out Berlin from the second set and that looks right, actually. Great performance by everyone - even the weather improved enough so no rain during the concert which started just after 9 pm and ended at about 1240! Cold towards the end - hopefully no lasting problems for any of the band! Highlight for me was Night Comes On as I had not heard this live before. Whole performance was even better, in my view, than in Ghent and Leonard really seems to be enjoying himself hugely! Great vibe thanks to Andrea et al beforehand too --- many thanks for organising a great meet up!! Paul

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Tue Sep 25, 2012 10:40 pm
by sturgess66 ... -di-Verona
Concerts, Leonard Cohen: review of the show in Verona


Concerti, Leonard Cohen: la recensione dello show di Verona September 25, 2012 - A starry sky has cleared the storm in the afternoon, last night in Verona. And like to imagine that it was the strong breeze and the gentle music of Leonard Cohen in concert at the Arena, to sweep away the clouds and rain along with a lot of muzak that goes around. For more than four years Cohen, 78 springs flow stilosissima with nonchalance, "living" in public in his impeccable pinstripe suit touring the world with a fedora on his head. And it is anything but a "lazy bastard", a lazy bastard how do you define in the first verses of "Old Ideas", the last album that gives the title to his 2012 tour. Log trotted on stage, holding the scene for three hours and a quarter (with a small interval of fifteen minutes) and comes out dancing with the same infinite grace of his legendary songs, old and new, that the public composite of very large ' Arena, aided by the very first words, knows by heart.

"I do not know when we come back here," anticipates, "but I promise that tonight we will give everything we have." Will. There are no surprises, we know who and what we face: sublime poetry in music, with a gravitas unusual for the "pop" music (makes me shudder, rattle calmly hear lines like "I have no future, I know that my days are numbered ") graced by the sounds of a band stellar, multinational admirably orchestrated by bassist Roscoe Beck and its low" custom "with five strings. Other dark suits and other borsalini a valuable clockwork, a mixture of sweet and American English voices, a Texan "master of the baritone guitar" and a U.S. keyboard strokes and Scandinavian origin, a drummer and a violinist Mexican Moldovan longer the champion is remarkable that the Spaniard Javier Mas, face rapt and almost magically pluck while suffering his stringed instruments, the laud and bandurria. Cohen if fondles them and presents them to the public twice, takes off his hat as a sign of respect before their solos and their performance, often sings kneeling before the public and in front of them. Mas, Larsen (with a beautiful Hammond that colors the sound of the sixties) and Alexander Bublitchi, the gypsy violinist who replaces this tour saxophonist Dino Soldo, they take turns on stage and robust rations of applause, while the Webb Sisters open the dances of "Dance Me to the End of Love" by the wheel (and are then thanked for their "acrobatics"). It 'just a feast for the eyes and ears, "Bird on a wire", the third piece in the lineup with a sharp electric guitar solo, collects the first roar grateful and "Everybody Knows", soon after, the first rhythmic clapping the public later repeated for "In My Secret Life."

It 'ensemble and soloists, and the ringleader leave much room for her: with the introduction of hypnotic "Who by fire" begins the festival of flamenco Javier Mas, while in "Amen" guitarist Mitch Watkins offers a delicious jazzy phrasing to Wes Montgomery. We are the parts of an electric blues that shortly before, in "Darkness" (one of the four selections from "Old ideas"), had colored the stamps of a harmonica played by tour manager Mike Scoble. "Sisters of Mercy" is magic, "Hey, that's no way to say goodbye" (which at one mistake "Suzanne") is embroidered with a haunting violin and the gospel of the recent "How healing" lives on the contrast between the angelic voices of the singers and the stamp of the Canadian pitch black, then it's hypnotic electronic beat of "Waiting for the miracle" and the psalm of "Anthem" lead to a short break, but not before Cohen along with the musicians' entire crew.

When he returns, thanks all for not having gone, and then again the "music lovers" that the unattainable "Tower of Song" applaud his brief speech to the keyboard and screaming their approval for the man born "with the gift of an item of 'gold. " It 'a warm and emotional moment of the concert: forked glasses, Cohen introduces itself to the guitar "Suzanne" with a dedication "in memory of Fabrizio" (De André). Then it's "Hearts with no companion" lighten the tone with his bold arrangement country & western, while among the violin riffs and rhythms plunger of "Democracy" Leonard starts tinkering with the harp, "the harp of the Jews." Comes down to the Arena "The partisan" Mas finally standing, Larsen Beck on bass and accordion, before the frontman kind allow no room for introducing his backing vocalist with verses recited "Coming back to you" (the ethereal and clean Webb Sisters, guitar and harp, singing accompanied only by Beck) and the intense ballad "Alexandra leaving" Sharon Robinson, the singer, author and contributor to the Canadian historical plays with commendable parsimony and intensity (and without those unnecessary trills that have become unbearable habit of many successful singers). It's up to "I'm Your Man" and finally to "Hallelujah," the anthem that Cohen was "stolen", and then returned by Jeff Buckley (it is a little 'history of "Respect" by Otis Redding Aretha Franklin). Needless to say more, except that the set closes with the waltz "Take this waltz" the first of three generous a. "So Long, Marianne" and "Famous blue raincoat" the all singing (softly, not to break the spell), while "First we take Manhattan" Leonard gives occasion to mention some other dance step: one of the leitmotifs of evening, as reiterates the unexpected cover of "Save the last dance for me", r & b poignant signed Pomus-Shuman that smells of Drifters and early sixties. When Leonard whispers the lines "I tried to leave you" and "I hope you're satisfied" with a grin accomplice and satisfied we know that it's over, even if everyone is still in the lead at least one song that would want to hear. For some it is "Chelsea Hotel # 2", but no matter. Nobody feels "ugly" tonight, we're all for Cohen "beatiful". And all we had, we have the music.

(Alfredo Martian)

First set:
"Dance me to the end of love"
"The Future"
"Bird on a wire"
"Everybody Knows"
"Who by fire"
"Sisters of Mercy"
"Hey, that's no way to say goodbye"
"As healing"
"In my secret life"
"Going home"
"Waiting for the miracle"
Second set:
"Tower of Song"
"Night Comes On"
"Heart with no companion"
"The Gypsy's Wife"
"The partisan"
"Coming back to you"
"Alexandra leaving"
"I'm your man"
"Take this waltz"
First encore:
"So Long, Marianne"
"Firs we take Manhattan"
Second encore:
"Save the last dance for me"
"Famous blue raincoat"
Third encore:
"I tried to leave you"

Verona, Italy

Posted: Wed Sep 26, 2012 12:37 am
by Mr Melanzane
After a week's anxiety about whether or nor it would rain on the night our fears were allayed as the early evening skies turned clear and became a crisply cool night with a big two-thirds moon floating above the open air Roman arena in Verona.
LC took to the stage on time before the packed crowd in this spectacular setting.
Thirty-one song in total including 4 from the new album. The Drifters' 'Save the last dance for me' graced the second encore. The final encore prompted the obvious song with its first line, 'I tried to leave you'.

first set:
“Dance me to the end of love”
“The future”
“Bird on a wire”
“Everybody knows”
“Who by fire”
“Sisters of mercy”
“Hey, that’s no way to say goodbye”
“Come healing”
“In my secret life”
“Going home”
“Waiting for the miracle”
second set:
“Tower of song”
“Night comes on”
“Heart with no companion”
“The gypsy’s wife”
“The partisan”
“Coming back to you”
“Alexandra leaving”
“I’m your man”
“Take this waltz”
first encore:
“So long, Marianne”
“Firs we take Manhattan”
Second encore:
“Save the last dance for me”
“Famous blue raincoat”
Third encore:
“I tried to leave you”

A great night of three and a quarter hours music. A wonderful memory.

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 1:06 am
by sturgess66
Video uploaded by antonellamir - Thanks!

Dance Me To The End Of Love


Video uploaded by KoncertiNet - Thanks!

So Long Marianne

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 2:26 am
by IrishMar
The Verona Arena was a truly stunning setting for a most memorable evening, the open stage and the stone
backdrop along with the interesting lighting made for very impressive visuals;

Dance me to the end of Love


Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 4:20 am
by sturgess66
IrishMar wrote:The Verona Arena was a truly stunning setting for a most memorable evening, the open stage and the stone
backdrop along with the interesting lighting made for very impressive visuals;

Dance me to the end of Love

Thanks Mar - beautiful video! :)
A better link -


Good video uploaded by AintNoCureForLove - Thanks!

Coming Back To You

Alexandra Leaving

The Partisan

Suzanne (includes Leonard's dedication "I sing this in memory of Fabrizio [De André] " )

Video uploaded by miticokez - Thanks!

Dance Me To The End Of Love

Everybody Knows

I'm Your Man

The Darkness

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 9:00 am
by IMM
pink_is_dead wrote:Is it accurate the he dedicated "Suzanne" to Fabrizio De André? I didn't quite catch the name he mentioned.
It sure seems like it.

Ligur Ligur, burning bright,
In the forests of the night;

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 10:57 am
by susanne30072009
What a Night, what a Place, what a Concert!
Leonard and the UHTC were in great shape, despite the Circumstances after the "Cold" Gigs in Dublin!
Sure, every "Fan" noticed, that LC, Sharon and maybe a view others have their Problems... most of them having a Cold from Dublin. But they are Professionals, and that was obvious at this Night! (Sharon must have some serious Problems after the Concert). But all of them delievered a good Concert. And for this, they have earned our Respect.
To stand at this Stage and play such beautiful Music... and play his Songs for about 3 Hours 40 Minutes...incredible! Under this conditions, it is simply famos!
And this after the even colder Nights in Dublin...
A lot of the Crowd have had their difficulties about the Temperature...
I just can't even imagine, how hard it must be, when you stand up at this very high Stage, with this Wind, coming from the left side, sometimes directly from the front. The Wind was really strong sometimes...and they have to Sing and play all the Instruments... And still: they were in a very good Mood (at least, it looks that Way to me).
Leonard was Smiling a lot of Times! It seems, that he have his share of Fun to!
But personally, when Leonard decides to visit Europe again in 2013 (what I really hope with all of my Heart), I would prefer, that he will play in Buildings with a was cold in Kopenhagen, even colder in Dublin...
I was in the Meet-up for the very first Time (Uwe from Switzerland), and it was great! All the People, that you known from this page, but actually you never saw them before, and then, at such a nice Place, you meet them: From Paris, from the Netherlands, from Belgium, Germany, Liverpool, Spain, and even people from Zürich, who lives "just around the Corner", and you doesn't know: great!
I wish all of you the very best! My thanks to Jarkko, it was great, to meet him and his Wife!
And: thank you, Leonard, for this evening!!! Hope to see you again next Year

Uwe (and Susanne)

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 12:38 pm
by jarkko ... ard_cohen/
La notte perfetta, Arena rapita da Leonard Cohen
L'EVENTO. Il concerto dell'ultrasettantenne canadese in grande forma: «Non sappiamo se torneremo, ma questa sera daremo tutto». Promessa mantenuta: oltre tre ore di musica per un pubblico in religioso silenzio

Leonard Cohen e il chitarrista spagnolo Javier Mas FOTO BRENZONI Un concerto impressionante: oltre tre ore di musica, in un'atmosfera di rapimento estatico, con 12mila persone in religioso silenzio, una musica calda, suonata con gran gusto e dai diversi sapori: folk, country, flamenco, swing, soul, blues e un pizzico di rock'n'roll. Leonard Cohen - in Arena l'altra sera per l'unica tappa del suo Old ideas world tour - fa davvero paura, detto in senso buono. Se Bruce Springsteen, che supera agevolmente le tre ore di concerto, può contare su una forma fisica costruita con ore e ore di palestra, su cosa fa leva l'ultrasettantenne canadese, segaligno come l'ombra di un ballerino di tango? «Non sappiamo se torneremo un'altra volta da queste parti», dice all'inizio dello spettacolo, elegante in un completo gessato a doppiopetto e cappello, «ma vi promettiamo, la mia band ed io, che daremo tutto, stasera». Nessuno dubita, perché la sua è una voce profonda, da profeta, eppure le canzoni non sono trionfalistiche; parlano di battaglie e sconfitte, e certo non ha alcuna voglia - a differenza di molte altre rockstar - di catechizzare o convincere nessuno. Il comune denominatore delle due parti del concerto (iniziato alle 21 e terminato oltre la mezzanotte e mezzo: quando mai s'è visto, in Arena?) è la bellezza delle parole delle canzoni. Viene da chiedersi che senso ha ascoltare altra musica rock, quando si ha la possibilità di investigare a fondo le opere di Cohen, capaci di rivelare particolari nuovi ad ogni ascolto. E se è vero che incontrare il suono della voce dell'artista canadese durante l'adolescenza è una fortuna, di certo da adulti - diciamo da over 30 - l'incontro può diventare una vera e propria rivelazione. L'ultimo Cohen - quello che in concerto presenta i brani da I'm your man, disco del 1988, in poi - è infatti comprensibile solo da adulti; anzi, a voler essere discriminatori, non può essere compreso dai ragazzini; e dovrebbe recare incisa sul biglietto del concerto o sulla copertina dei cd la scritta «vietato ai minori di». Perché i riferimenti, la profonda ironia, l'amarezza e la carica erotica di alcuni brani - resi in concerto da una band di strepitosi musicisti: su tutti il chitarrista spagnolo Javier Mas - si svelano solo a una certa età. Certe sfumature del linguaggio (come le sottigliezze di Amen, Hallelujah - ah, quest'ultima la cantano perfino nei talent!) si svelano solo con il tempo. Ci vogliono anni per capire come toccare il corpo di una persona con la mente; per afferrare il senso delle strofe di Amen e di Darkness («So che i miei giorni sono pochi, il presente non è così piacevole/ Ci sono solo un sacco di cose da fare»). E solo dopo aver ascoltato a lungo Hank Williams, il cantautore country nume tutelare di Leonard, si può capirne il riferimento in Tower of song. Ma il suo concerto in Arena è stata anche, e soprattutto, una lezione di stile. Cohen è così fico che ti fa venir voglia di arrivare presto a settant'anni per girare con un doppiopetto stretto come il suo. Con l'incedere arzillo e i capelli grigi, e quelle due rughe come parentesi ai lati della bocca, è così elegante da far risultare ancora più sgradevoli gli ultrasettantenni coi capelli tinti. E dopo una valanga di bis («Fosse per noi, suoneremmo tutta la notte», confessa), lascia andar via i 12mila dell'Arena con una canzone che dice «Buona notte, tesoro/ spero tu sia soddisfatta». Ma se pensiamo che il prossimo anno, su quello stesso palco su cui s'è inginocchiato lui, sono previste cinque date di Amici, c'è di che non dormire la notte.

Giulio Brusati

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 1:38 pm
by jarkko ... 0539.shtml
la recensione
Cohen, tre ore di diamanti
nell'abbraccio dell'Arena

Concerto magnetico del cantautore canadese. E voglia di lacrime dentro un sorriso: «Non so quando tornerò...»

VERONA - Solo Leonard Cohen e Bruce Springsteen, al giorno d'oggi, mettono in piedi spettacoli che superano le tre ore. E, non me ne vorrà il Boss, ma il cantautore canadese si merita un applauso ancora più forte, se non altro per i settantotto anni anni compiuti il 21 settembre. Di applausi, quelli che esplodono con irruenta naturalezza alla fine di ogni canzone e rotolano dalle gradinante verso la platea e fin dentro il palco, lunedì notte, in Arena se ne sono sentiti tanti. E tutti più che guadagnati. Ci si può girare intorno finché si vuole, ma sarebbe ingiusto non chiamare il concerto con l'unico aggettivo che si merita: magnifico. L'Arena è quasi piena per l'unica data italiana del tour dell'ultimo album “Old Ideas”. Anche il cielo, dopo la pioggia, si fa sereno lasciando intravvedere le stelle alte nel cielo e una mezza luna gigante. Alle 21, spaccato il secondo, entra la band in rigoroso vestito nero, Roscoe Beck, direttore musicale e basso, Rafael Bernardo Gayol, batteria e percussioni, Neil Larsen, tastiere, Javier Mas, banduria, laud cubano, arciliuto e chitarra, Mitch Watkins, chitarra (anche se “chitarre” sarebbe più giusto), Alexandru Bublitchi, violino, Sharon Robinson, cori, e le sorelle Charley, cori e chitarra, e Hattie Webb, cori e arpa. Anche Mike Scoble, il tour manager, si guadagnerà il palco un paio di volte per suonare l'armonica a bocca.

Borsalino in testa, completo scuro e camicia grigia, il “crooner d'autore” entra sul palco saltellando con infinita eleganza e si inizia con “Dance me to the end of love”. Si capisce subito che senza i fiati, il suono della band è diventato più leggero, intimo, più club che big band, e non ci potrebbe essere un posto migliore per una band così come il palco areniano, lasciato aperto sul fondo per mostrare la bellezza dell'anfiteatro. Dopo la prima canzone Cohen si toglie il cappello “Grazie per la bellissima accoglienza, qui è bellissimo, non so quando tornerò ma posso dire che questa sera vi darò tutto quello che ho”. Promessa mai così presto portata fino in fondo. La scaletta saltabecca nel tempo, dagli anni Sessanta fino ai giorni nostri, toccando ogni decennio e mostrando la perfezione di una musica fatta di altissime liriche e melodie potenti, che in sé non ha tempo, coerente e attuale come i temi affrontati: tradimento e suicidio, abbandono e morte, amore e futuro, coscienza e credo, pietà e pentimento, seduzione e libertà.

Si passa danzando su un tappeto di damasco da “The Future” a “Bird on a wire” (con un intro di hammond e chitarra da lacrime). “Everybody knows” è un gatto di soppiatto nella notte, “Who by fire” un'(anti) preghiera medioevale, “Darkness” un blues da cantina di New York, “Sisters of Mercy” sottile come una carezza, “Hey, that's no way to say goodbye” lascerebbe freddi solo chi un cuore l'ha perso. Stile, eleganza, grazia e garbo, Cohen è un magnete, perfino quando si inginocchia per cantare e accenna a dei passi di danza. Cascano le ultime perle come “Amen” o “Come healing” (le voci angeliche delle sorelle Webb sono fondamentali), ancora “In my secret life” e la consapevolezza di “Going home” fino a “Waiting for the miracle” e su “Anthem”, profonda come una confessione, si presenta la band. “Grazie per essere venuti nonostante la pioggia – dice Cohen, ironico come sua abitudine - non andate via torniamo fra 15 minuti”.

Il secondo set, meno organico e più vario del primo, si apre con il cantautore canadese alle tastiere “grazie per essere rimasti”, chiosa, prima di una divertente “Tower of Song” (su i versi “I was born like this, I had no choice / I was born with the gift of a golden voice, il pubblico esulta). Per il classico dei classici, “Suzanne”, restituito nella sua imponenza minimale di chitarra e voce (a cui si aggiunge coro e violino) Cohen trova una sentita dedica a Fabrizio (De André) che l'ha tradotta e pubblicata su “Canzoni”. La voce di Cohen è un Porto tawny invecchiato a lungo: la complessità profondità è restituita ai suoi massimi, limando un po' di sfumature. “Night comes on” apre ad “Heart with no companion” un pezzo quasi country che ricorda il “man in black” Johnny Cash. Di rara intensità “The gypsy's wife” e “The partisan” che si sposa con la “vena politica” di “Democracy” con tanto di coriste in marcia. Cohen recita la prima strofa di “Coming back to you” e poi la lascia cantare a le sorelle Charley e Hattie Webb, angeliche con chitarra e arpa. Ha una grinta tutta black invece “Alexandra leaving” interpretata con sensibilità da Sharon Robinson. Il finale saluta con la carnale “I'm your man”, il manifesto “Hallelujah” e la danzerina “Take this waltz”. Il pubblico compostissimo e rispettoso di ogni sfumatura della voce del crooner canadese ora non ce la fa più a tenersi e la standing ovation è necessaria, fino all'ultimo bis. Proprio gli “encore” sono una perfetta sintesi delle diverse sfaccettature del diamante Cohen, “So long, Marianne”, “First we take Manhattan”, “Famous blue raincoat”, e, dopo la rarissima cover de The Drifters “Save the last dance for me”, anche “I tried to leave you”. “Guidate piano, abbiate cura della vostra famiglia e dei vostri amici”, è il saluto finale del cantante che scriveva poesie o, meglio, il poeta che scriveva canzoni.

Francesco Verni
25 settembre 2012

thanks for Verona.. and really.. "enjoy the show" in France

Posted: Wed Sep 26, 2012 5:17 pm
by Lux
once again... really thanks to the two beautiful people, fans from Scotland, that just before Verona show, gifted us two tikets for places in seventh row...
amazing ... beautiful.. incredible show... simply GREAT..
thanks... I'm not able to find other words..

and ...really "enjoy the show" you're going to see in France

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 9:29 pm
by zwirnie
just one question concerning the setlist ... was 'Save the Last Dance' really played before 'Famous Blue Raincoat'? Would have been the first time on this tour ...

Re: CONCERT REPORT: Verona, September 24, 2012

Posted: Wed Sep 26, 2012 9:49 pm
by sturgess66
zwirnie - Maybe someone who was at the show can clarify where "Save The Last Dance For Me" came in the setlist.
There are reports about it coming both before and after "Famous Blue Raincoat" - :?:

Video uploaded by tango5motion - Thanks!

The Future

First We Take Manhattan

Sisters of Mercy

The Partisan


Video uploaded by BulatAndre - Thanks

Includes Leonard's dedication of the song "I sing this in memory of Fabrizio [De André] "