CONCERT REPORT: Belgrade, September 2

Europe and Israel (July 1 - September 24, 2009). Concert reports, set lists, photos, media coverage, multimedia links, recollections...
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sturgess66
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Re: CONCERT REPORT: Belgrade, September 2

Postby sturgess66 » Sun Sep 13, 2009 10:53 pm

Okudzhava wrote:... and another fine clip of "The Partisan" - nice close-ups, one can clearly see the chord changes:

http://www.youtube.com/watch?v=hn03bsEjlfE
Video by "marellyboy" - who also uploaded another good quality video -

"First We Take Manhattan"
http://www.youtube.com/watch?v=8k7M9cVJ814
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sturgess66
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Re: CONCERT REPORT: Belgrade, September 2.

Postby sturgess66 » Sun Sep 13, 2009 11:21 pm

Tom Sakic wrote:One of the best reviews ever (in Croatian): http://www.groupie.hr/index.php?stranic ... aj&id=4239
Another very informed and beautiful review here, which analyses players (particularly Javier's solos)! (in Serbian): http://www.popboks.com/tekst.php?ID=7613
Photos by Aleksandar Zec: http://dnevnik.hr/showbizz/glazba/foto- ... gradu.html

Many songs are on the YouTube, and it seems that the show recording is already on torrents.

According to all comments and media reports, it was one of the best shows, sadly I couldn't be there. They sold 10,000 tickets.
All right - I can't read Croatian or Serbian - so here come the wretched Google translations. :lol: :lol:

http://www.groupie.hr/index.php?stranic ... aj&id=4239

Leonard Cohen: Magija u dva čina
06. rujan 2009. 22:17:59
Izvještaji s koncerata

Kanadski kantautor je publici u beogradskoj Areni 2. rujna podario čudesno dobru i emocijama nabijenu svirku, doživljaj kakvih nema puno u životu.

Priznat ću vam da mi je glavni motiv za odlazak na koncert Leonarda Cohena bilo to što je kanadski kantautor u godinama u kojima se baš i ne ide često na svjetske turneje (za koji će dan napuniti 75). Gostovanje u bliskom susjedstvu učinilo mi se idealnom prilikom da ga čujem i vidim uživo prije no što biologija neminovno i nepovratno učini svoje.

Lagao bih kad bih rekao da sam Cohenov veliki fan. Nekoliko pjesama mi je prilično priraslo srcu, ali njegove albume nećete naći među glazbom koju često vrtim u CD ili MP3 playeru. Njegovu karijeru i diskografiju pratio sam u najboljem slučaju sporadično, putem zagriženijih obožavatelja, mnogobrojnih obrada i novinskih članaka. I tako mali uvid u opus pružao je dovoljno dokaza da se radi o jednom od najboljih pjesnika koje je pop kultura dosad iznjedrila. Pa ipak, nisam se previše upuštao u istraživanje. Bio mi je premelankoličan, predepresivan.

U Beograd sam se uputio bez velikih očekivanja. Moju blagu skepsu podgrijavalo je prisjećanje na loša iskustva sa sličnim izvođačima, poput Boba Dylana (čiji je koncert bio preko one stvari odrađen medley velikih hitova i manje poznatih pjesama) i Đorđa Balaševića (koji, pak, ne zna kad treba stati, pa razvodni inače ogromni emotivni naboj svojih pjesama u teško probavljivu petosatnu kašu). Bio bih zadovoljan da sam dobio porciju kakvu redovno posluži Zoran Predin, sa ili bez Lačnog Franza - korektna svirka, malo nostalgije, malo smijeha i dobra atmosfera.

No, ono što su Cohen i njegov prateći bend izveli u Areni bilo je magično.

Već nakon prvih taktova "Dance Me to the End of Love", kojom je koncert otvoren, ogromna betonska sportska dvorana kao da se pretvorila u mali, intimni jazz klub. Tome su svakako pridonjeli odličan zvuk te besprijekorna izvedba vrhunskih i sjajno raspoloženih glazbenika. Ali, ključni elementi preobrazbe bili su snaga samih pjesama i suptilnost kojom njihovu poruku prenosi publici.

Osnovno obilježje Cohenova scenskog nastupa je jednostavnost u svakom pogledu. Nema spektakularne rasvjete, pomno razrađene i uvježbane koreografije, blještavih kostima. Nema suvišne patetike, pompe, podilaženja publici. Nema naguravanja uspješnica u pakete pod svaku cijenu i sličnih jeftinih trikova. Sve je podređeno tome da pjevač/pjesnik i njegove pjesme dođu u prvi plan sadržajem i značenjem, a ne formom.


Cohenu je u tome malo tko ravan. Nije stvar samo u tome što na raspolaganju ima impresivan broj majstorski napisanih i emotivno kompleksnih tekstova, nastalih tijekom višedesetljetne karijere. Poodmaklim godinama i činjenici da je beogradski nastup bio dio turneje koja traje već godinu dana usprkos, pred desetak tisuća okupljenih sa svih strana bivše Jugoslavije svoje je pjesme pjevao kao da su tek nastale večer prije. Dok se Chuck Berry u Zagrebu osramotio zamuckujući čak i svoje najveće hitove, Cohen tijekom gotovo trosatne svirke nije niti jednom ni zastao, već je u svaku riječ dubokim, hrapavim glasom upumpao nepatvorenu iskrenost, strast i prisnost.

Moguće je i da se poželio svirke uživo - ima već petnaest godina kako nije bio na većoj turneji, kamoli svjetskoj. No, uz sve već navedeno, potrebno je puno iskustva, znanja, vještine i vjere u ono što se radi da bi se od mahom par desetljeća starog materijala složio scenski nastup u kojem ništa ne zvuči otrcano, izlizano ili isforsirano. Potrebno je biti jedno s glazbom da bi se s takvom lakoćom šetalo kroz žanrove i stilove, biti jedno s riječima da se na svima razumljiv način izraze univerzalne i duboke istine, biti u miru sa sobom da se svijetu ogoli vlastita ranjivost, ponudi srce na dlanu.


Publika je sve to osjetila i prepoznala, pa je gotovo svaka pjesma više puta bila presijecana pljeskom i povicima, a neke od njih počele su živjeti svoj život. Tako je, recimo, bilo s "I'm Your Man". Iako izvorno prikazuje anonimnog ljubavnika spremnog na sve kako bi zadržao svoju draganu, na koncertu su te uloge preuzeli sam Cohen i auditorij koji ga je došao čuti.

Slično je, ali sa zrnom humora i autoironije, bilo i na samom kraju koncerta. Netko drugi bi se možda zadovoljio s "Closing Time" kao završnicom. Ali, publika je tražila još (nakon što je kraj redovnog programa i bis odslušala na nogama i popratila ovacijama), a Cohen je na to odgovorio otvarajući drugi bis moćnim bluesom, naslovljenim "I Tried To Leave You".

Uz tu pjesmu, moji osobni favoriti bili su "Famous Blue Raincoat", "Hallelujah", "Who By Fire", "Partisan" i "First We Take Manhattan". No, mogao sam iz pomno složenog seta, podijeljenog u dva dijela od po sat i nešto (plus bisevi), izdvojiti bilo koju pjesmu, tako je to kvalitativno i doživljajno ujednačen nastup bio.

Rado bih ga pogledao još bar tri-četiri puta. Nadam se da će biti još prilike.

Siro,

http://www.mediapositiva.hr
GOOGLE translation - Croatian to English
Leonard Cohen: Magic in two acts
06th rujan 2009. 22:17:59
Reports from the concert

Canadian singer-songwriter has the audience in the Belgrade Arena 2nd September gave wonderfully good and emotionally charged music, any experience is not much in life.

I recognized you that I was the main motive for going to the concert of Leonard Cohen was the fact that the Canadian singer-songwriter in years in which very often do not go on world tour (which will fill the day 75). Visit the close neighborhood seemed to me the ideal opportunity to hear and see live before biology inevitably and irrevocably make your own.

I lied when I said that I am a big fan of Cohen. A few songs I was pretty close to my heart, but his album will not find the music that often Vrtim in CD or MP3 player. His career and discography I watched at best sporadic, with zagriženijih fans, many contractors and newspaper articles. And so little insight into the work has provided sufficient evidence that this is one of the best poets of the pop culture of birth to date. However, I did not get too wrought in research. He was my premelankoličan, predepresivan.

In Belgrade I was sent with no great expectations. My mild skepticism podgrijavalo is to recall a bad experience with similar artists such as Bob Dylan (whose concert was over things treated medley big hits and lesser-known songs) and Djordje Balasevic (which, however, does not know when to stop, and distribution or huge emotional charge of their songs in heavy petosatnu digestible porridge). I would be happy that I got a portion of any regularly serve Zoran Predin, with or without Lačnog Franz - fair gig, a bit of nostalgia, a little laughter and a good atmosphere.

But what Cohen and his backing band perform in the Arena it was magical.

After the first rhythms of "Dance Me to the End of Love," which opened the concert, the vast concrete sports hall to be turned into a small, intimate jazz club. This was certainly contributed a great sound and flawless performance and great inclined top musicians. But key elements were transforming power and subtlety of the very songs that transmit their message to the audience.

The basic feature of Cohen's stage performance is simple in every respect. There are no spectacular lighting, carefully designed and skilled choreography, glittering costumes. No unnecessary pathos, pomp, podilaženja audience. No naguravanja success in packages at any price and other cheap tricks. Everything is subordinated to that singer / poet and his poems come to the fore the content and meaning rather than form.

Cohen is that few people even. Not simply in the fact that the disposal has an impressive number of masterfully written and emotionally complex texts that occurred during the decades-long career. Elderly and the fact that Belgrade's performance was part of a tour that lasted for a year despite the front of tens of thousands gathered from all over former Yugoslavia, he sang his songs as if they had just made the night before. While Chuck Berry in Zagreb disgraced stuttering even his greatest hits, Cohen during nearly three-hour gig is neither one nor stopped, but every word in a deep, rough voice upumpao genuine sincerity, passion and intimacy.

It is possible that the wanted live music - has for the past fifteen years, was not more tour, let alone the world. However, with all previously noted, it takes a lot of experience, knowledge, skills and faith in what is to be mainly of a few decades old material agreed to stage performance in which nothing sounds otrcano, worn or isforsirano. It is necessary to be one with the music to be walked with such ease through genres and styles, will be one of the words that everyone understood how to express the deep and universal truths, be at peace with himself to the world ogoli own vulnerability, available on the palm heart .

The audience is all the senses and recognized, and almost every song was presijecana often with applause and cries, and some of them began to live his life. Thus, for example, whether the "I'm Your Man." Though originally showing an anonymous lover in all ready to keep their Dragan, in concert these roles I have taken Cohen and audience who came to hear.

Similarly, but with a grain of humor and autoironije, either at the end of the concert. Someone else may be satisfied with "Closing Time" as well as finals. But the crowd wanted more (after the end of the regular program and bis attended follow up on their feet and standing ovations), and Cohen responded by opening the second encore powerful blues, titled "I Tried To Leave You".

With this song, my personal favorites were "Famous Blue Raincoat," "Hallelujah," "Who By Fire," "Partisan" and "First We Take Manhattan." No, I could have a complex set of closely divided in two parts, one hour and one (plus Biševo), set aside any song, so it is experiential and qualitative performance was uniform.

I'd like to look at it at least another three to four times. I hope there will be more opportunities.

Siro

http://www.mediapositiva.hr
-AND-
http://www.popboks.com/tekst.php?ID=7613

LEONARD COHEN U BEOGRADU
Još jedan poslednji valcer

“Hvala vam što održavate moje pesme u životu“, rekao je sinoć Cohen na samom kraju troipočasovnog nastupa pred punom Arenom

Nebojša Marić
Belgrade2.jpg
Foto: Aleksandar Zec

Mesto: Beogradska arena, Beograd
Vreme: Sreda , 2. septembar 2009.

Iako je Leonard Cohen duboko zakoračio u osmu deceniju života, njegovo držanje je veoma jednostavno i graciozno. Sinoć ste mogli da ga vidite na kolenima sa zatvorenim očima kako peva svoje stihove (okrenut publici ili izuzetnom gitaristi Javieru Masu), kako stoji sa strane i sa šeširom u ruci (u znak poštovanja) prati muzičare na bini ili kako, poput mladića, trčkara ka backstageu između setova.

LEONARD COHEN U BEOGRADUOrkestar je bio nepogrešiv. Veoma precizan i diskretan (na trenutke i tih do granica čujnosti), zvucima i glasovima potcrtava Cohenove slike. U Bird On the Wire, u prvom delu koncerta (koji je otvorila Dance Me to the End of Love), čula se izuzetna igra između „slowhand“ blues gitare i mediteranskog stila majstora iz Barselone, Javiera Mase (koji se može opisati kao zanimljiv spoj španskog, ciganskog i grčkog melosa).

Masovo sviranje odnosi prevagu nad drugom gitarom već u idućem trenutku, kada je markantna figura u tamnom odelu i sa karakterističnim osmehom, gorko-cinično objavila kako je borba nameštena i kako siromašni ostaju siromašni, dok se bogati bogate (Everybody Knows)... My Secret Life s lakoćom prebacuje slušaoca u neku starovremensku salu za ples, u poslednje trenutke pred zoru, a jedino što stoji na putu tom ugođaju je sedeći karakter koncerta.

Tokom 15-ominutne pauze, pod upaljenim svetlima, moglo se viditi koliko je zaista snažno Cohenovo nasleđe. Publiku u areni su činile bukvalno sve generacije, a blizu vašeg izveštača je sedeo mladi par koji je odlučio da jedno od prvih iskustava nedavno rođene bebe bude susret sa Cohenovim stihovima i muzikom.

Teško da prema bilo kom živom muzičaru ljudi gaje takvu strast.

„Well my friends are gone and my hair is grey“, objavljuje Cohen na početku drugog seta, u jednoj od svojih najduhovitijih pesama Tower of Song, koja priziva i Hanka Williamsa. Cohen i bend sa lakoćom nižu klasike poput Suzanne (za koju je kao inspiracija poslužila bivša žena vajara Armanda Vaillancourta, Suzanne Verdal), Hallelluja, I’m Your Man,Take this Waltz... podižući prisutne na noge.

Kao čovek sa zavidnom reputacijom zavodnika (Rolling Stone ga, skandalozno, opisuje kao jevrejskog Bryana Ferryja) – što mu nije uvek išlo na ruku (najzanimljiviji primer je druženje sa Nico, koju je, ipak, samo otpratio na jedan od prvih koncerata Doorsa) - Cohen je svestan da rastanak doprinosi magiji življenja. Sinoć se čak u tri navrata vraćao na binu kako bi ga učinio upečatljivijim (So Long, Marianne, First We Take Manhattan, Closing Time...).

Leonard Cohen je bio svedok i učesnik najvažnijih zbivanja u kulturi prošlog veka. Delio je sobu sa Allenom Ginsbergom, Bobom Dylanom i Joan Baez, sarađivao (neuspešno) sa Philom Spektorom. U potrazi za ličnim mirom ispijao je i gorke i slatke sokove života - prepuštao se drogama (u jednom intervjuu je čak izjavio da mu je prozak pomogao da se oseti superiorno u spiritualnom smislu, ali da je ubio njegov libido), alkoholu, ženama, različitim religijama...

anas je Za-Zen budista (učitelj Old Roshi mu je dao ime Jikan), koji je, kako je ironično rekao, prinuđen da pod stare dane ponovo radi ne bi li obezbedio penziju.

Bez nametanja, Cohen je postao jedan od najvećih pesnika 20. veka (o drugoj velikoj figuri nećemo ovom prilikom, čini se da ih isuviše često porede na Cohenovu štetu). Među njegovom „decom“ nalaze se najvažnija imena američke muzike s kraja prošlog veka (Michael Stipe, Jeff Buckley, Kurt Cobain...), a među njegovim poklonicima i prijateljima su ljudi poput Nicka Cavea i Lou Reeda.

Srpska publika je sinoć imala prilike da uživa u živom klasiku pop kulture 20-og veka. Sa druge strane, Cohenovi omiljeni motivi – ljubav, strast, nada – teško da će ikada izgubiti na aktuelnosti, zbog čega ostaje nada da će njegov duboki sugestivan glas nastaviti da nam govori o životu.
GOOGLE translation - Serbian to English
LEONARD COHEN IN BELGRADE
Another Last Waltz

"Thank you keep my song in my life," Cohen said last night at the very end before the full performance troipočasovnog Arena

Nebojsa Maric

Photo: Aleksandar Zec

Location: Belgrade Arena, Belgrade
Time: Wednesday, 2 September 2009.

Although the Leonard Cohen deep stepped into the eighth decade of life, his attitude is very simply and gracefully. Last night you could see it on his knees with eyes closed to sing their verses (facing the audience or exceptional guitarists Javier Massu), standing on the side and with hat in hand (a sign of respect) follows the musicians on stage, or how, as boys, trčkara to backstageu between sets.

Orchestra was unmistakable. Very precise and discreet (for those moments and the earshot), sounds and voices potcrtava Cohen added. The Bird on the Wire, in the first part of the show (which opened the Dance Me to the End of Love), senses the extraordinary game between "slowhand" blues guitar and Mediterranean-style master from Barcelona, Javier masses (which can be described as an interesting combination Spanish, Greek and gypsy songs).

Masovo play relates dominance over another guitar, but in the next moment, when the striking figure in a dark suit and with a characteristic smile, bitter-cynically announced to the struggle and furnished to the poor remain poor while the rich are rich (Everybody Knows) ... My Secret Life with ease, shifting the listener in an old-fashioned dance hall, in the last moments before dawn, and the only thing standing in the way the atmosphere is seated character of the concert.

During the 15-ominutne break, under the lights on, you could see how truly powerful Cohenovo heritage. The audience in the arena was made up virtually all generations, and close to your reporter has sat a young couple who decided that one of the first experiences of recently born babies to be meeting with Cohenovim verses and music.

It's hard to live by any musician people cultivate this passion.

"Well my friends are gone and my hair is gray," Cohen declares the beginning of the second set, in one of his songs najduhovitijih Tower of Song, which evokes and Hank Williams. Cohen and bend with ease lower classics like Suzanne (which served as inspiration for former wife of sculptor Armand Vaillancourta, Suzanne Verdal), Hallelluja, I'm Your Man, Take this Waltz ... raising the attendees on their feet.

As a man with an enviable reputation seducer (Rolling Stone him, scandalous, described as the Jewish Bryan Ferryja) - which it is not always going to hand (the most interesting example is the association with Nico, which, however, only otpratio one of the first concerts Doors) -- Cohen is aware that the separation contributes to the magic of life. Last night, even three times returned to the stage so it did impact (So Long, Marianne, First We Take Manhattan, Closing Time ...).

Leonard Cohen was a witness and participant of the most important developments in the culture of the last century. He has shared a room with Allen Ginsberg, Bob Dylan and Joan Baez, worked (unsuccessfully) with Phil Spector. In the quest for personal peace and drink the bitter and the sweet juice of life - prepuštao the drugs (in an interview is even said that his prozak helped to feel superior in the spiritual sense, but that he killed his libido), alcohol, women, different religions ...
anas for-Zen Buddhists (Old Rosh teacher gave him the name jikan), which, as he said, ironically, forced to the back to the old days in order to secure retirement.

Without imposing, Cohen became one of the greatest poet of 20th century (about another great figure on this occasion we seem to be too often compared to Cohenovu damage). Among his "children" are the most important names of American music from the end of the last century (Michael Stipe, Jeff Buckley, Kurt Cobain ...), among his fans and friends are people like Nick Cave and Lou Reed.

Serbian audience last night had the opportunity to enjoy live classic pop culture of the 20th century. On the other hand, Cohen's favorite motifs - the love, passion, hope - will hardly ever lose their currency, which remains the hope that his deep voice suggestive continue to tell us about life.
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sturgess66
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Re: CONCERT REPORT: Belgrade, September 2

Postby sturgess66 » Sun Sep 13, 2009 11:34 pm

Okudzhava wrote:Check this out, Tom - another lovely review, this time from the legendary Peca Popovic!

http://www.blic.rs/blickomentar.php?id=3650

http://www.blic.rs/blickomentar.php?id=3650

En Passant
Petar Popović | 08.09.2009
Po(r)uka koncerta

Petar PopovićDok je on klečao mi smo stajali. On je bio dirnut mi ushićeni. On je skinuo šešir i odlepršao u noć a mi ostali da otšetamo kući i sačekamo san. Posle takvih koncerata teško se može, tek tako, zaspati.
Lenard Koen je došao, pobedio i odneo sobom naše najdublje poštovanje. Zauzvrat razgoreo je emocije za koje smo verovali da su davno pobegle sa naših adresa.
O kakvom se majstoru radi lično sam se uverio na njegovom prvom evropskom koncertu, u praskozorje fajronta festivala na ostrvu Vajt, leta 1970. godine. Lakoćom mađioničara hipnotisao je razjarenu zver publike gnevne zbog Hendriksovog fijaska. Sam, uz gitaru, pokazao je koliko pesma, ako je prava, od krvi i istine, može biti nadmoćnija od besa pola miliona mladih hipika, anarhista i evropskih protuva.
Od tada je prošlo gotovo četiri decenije a gromadni pesnik, bivši švaler, lascivni pisac i vlasnik skromnog ali magično sugestivnog glasa došao je da nam pokaže kako je čudo umetnosti, uprkos svemu, neuništivo.
Zbog čega danima svi toliko pričaju o njegovom koncertu?!
Tu nije bilo nikakve posebno građene scene, pirotehnike ni tehnoloških proteza. Tu nije bilo sletskih vežbi ni koreografija pravljenih da bi pojačale efekte kojih nema u pesmama. To je jedan od retkih programa gde muzičari uživaju učestvujući u ritualu koncerta. Tu se nije insistiralo na „uvećavanju“ slike i osnaživanju zvuka. Zahvaljujući Koenu imali smo retku mogućnost da se uverimo koliko u umetnosti može biti više duhovnosti nego u religiji.
Istovremeno čuli smo pevača, koji sigurno ne bi nikad bio primljen u neku ovdašnju muzičku školu, u fenomenalnim pesmama upakovanim u zanimljive aranžmane koji svakom od fantastičnih muzičara na bini omogućavaju da iskažu svoje umeće.
Ako Koen nema glas onda ima prateći ženski vokalni trio koji sve njegove mane pretvara u vrhunske vrline. On nam je vratio veru u značaj umetnika u popularnoj muzici. Valjda su to shvatili i neki od naših popularnih pevača. A to da li je dekintiran, mator, šta misli o ovome ili onome to nije nivo njegove umetnosti.
Više od 9.000 ozarenih posetilaca u „Areni“ dokazuje da Beograd nije poseljačen koliko se sumnja. Što u izveštajima o koncertu nisu kao VIP posetioci naznačeni Guzin sin, Uhranjena, Tetovirani, Nejaki, Krlja i Bezglasna takođe je Koenov uspeh. Sramota je novinarska pisati „ko je ko u publici“ kad na sceni imate Umetnika takvog kalibra.
Da je Koen reklamiran tako napadno i toliko dugo na svenacionalnim medijima kao Madona, bojim se da bi doživeli još neke dodatne kulturološke šokove.
Koliko se radujem što sam prisustvovao ovom Događaju, toliko žalim sve one koji nisu mogli da podele ovu neponovljivu čaroliju.
GOOGLE translation -
n passant
Petar Popovic | 08/09/2009
By (r) indicate concert

Dok he was kneeling we stood. He was thrilled we moved. He was stripped hat and odlepršao at night and we stayed to otšetamo home and wait for the dream. After these concerts can be difficult, just, asleep.

Leonard Cohen came, won and took him our deepest respect. In return razgoreo the emotions that are believed to have fled long ago from our address.
About what the master to make sure I have personally on his first European concert, the closing time dawn festival on the island of White, Summer 1970th year. Ease of a magician was furious beast hipnotisao audience angry because Hendriksovog fiasco. Sam, with guitar, showed how much the song, if the law of the blood and the truth can be overpowering fury of half a million young hippie artists coming, anarchists and European vagabond.
Since then it has been almost four decades gromadni a poet, a former lover, lascivni writer and owner of a modest but suggestive voice magically come to show us how the miracle of art, despite everything, indestructible.

Why so many days everyone is talking about his concert?

There was not any particular scene built, pyrotechnics or technological prosthesis. There was no choreography sletskih exercises pravljenih to reinforce the effects of which are not in the songs. It is one of the few programs where musicians enjoy participating in the ritual of the concert. There has not insisted on the "increase" image and strengthening of sound. Thanks to Cohen, we had a rare opportunity to be confident in how art can be more spiritual than religious.
At the same time we heard the singer, who certainly would not have ever been admitted to a local music school, the phenomenal songs packed in interesting arrangements that each of the fantastic musicians on stage and allow to express their skills.
If Cohen does not have a voice, then female backing vocal trio all his flaws into a virtue top. It is our belief in the importance of returning artists in popular music. I guess they realized some of our popular singers. And whether dekintiran, old, what he thinks about this or that it is not the level of his art.
More than 9,000 visitors in ozarenih "Arena" proves that Belgrade is not poseljačen as suspected. As reports about the concert as VIP visitors have indicated Guzina son, fed, Tattoo, weak, Krlja and Bezglasna also Koenov success. It is a shame journalists to write "who's who in the audience" on stage when you have Artists such caliber.

If Cohen advertised as attack and so long as the media svenacionalnim Madonna, I'm afraid that some more experienced cultural shock.
How glad I attended this event, so much regret all those who were not able to share this unique magic.
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Re: CONCERT REPORT: Belgrade, September 2

Postby tomsakic » Mon Sep 14, 2009 12:55 pm

complex set of closely divided in two parts, one hour and one (plus Biševo)
Biševo is an island in the Adriatic sea.

They mean "bisevi" = encores ::))
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Re: CONCERT REPORT: Belgrade, September 2

Postby sturgess66 » Wed Sep 16, 2009 3:44 am

http://tzvetkova.wordpress.com/2009/09/ ... -h-kranzl/
Guest author – H. Kranzl
September 16, 2009

A friend, fan of Leonard Cohen, attended his concert in Belgrade earlier this month. I invited him to share his impressions. Appreciation to guest contributor – Hermann Kranzl (cc) text & link to ‘Closing Time’ (live) http://www.youtube.com/watch?v=rXE68UfnUJA

21st century pilgrimage

The profane hall is dimmed,
the determined time fulfilled,
the multiple set of expectations
laid out to retrieve –
when the verses are recited,
the music is resounding,
and the light comes in
through the cracks of the mind.
Beyond the horizons of a concert,
attendant of Leonard Cohen
performing in his voice,
a spiritual experience is created.
The experience of a pilgrimage,
a pilgrimage with universal destinations,
and a prophet bending his knees
at the end of the songs.
Under cover of an atmosphere
tuned with mutual human respect,
human respect that in essence
is transcending the limits of reality,
leaving no one behind
in command of the consequences.
Leonard Cohen’s concert,
it came as a letter,
thoughtful and handwritten,
and duly signed:
“Sincerely, L. Cohen”
Belgrade, Sept. 2nd 2009
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Re: CONCERT REPORT: Belgrade, September 2

Postby tomsakic » Wed Oct 28, 2009 5:33 pm

Review published on E-NOVINE, culturally and politically very important Serbian-Croatian online-magazine, one of the last refuges for open-minded thinking people in this part of the world:

http://www.e-novine.com/kultura/kultura ... ienje.html

Review is long, detailed and indeed very beautiful. It opens with the description of people screaming out load because Cohen has started very loud and energetically with Dance Me..., punching everybody straight in the heart. The article deserves to be translated. My favourite two sentences: "The girl beside me is screaming, showing the goose skin to her boyfriend and showering him with kisses.", and [after quoting intro to Boogie Street] "Sharon Robinson has succeeded, and we didn't even noticed, to suspend time for a moment, and to shackle it with her divine voice. The magic went on for six minutes, everybody in the hall listening open-mouthed, not moving." (For those interested, here's the description of the Webb Sisters' If It Be Your Will: "Complete silence and collective hypnosis, again.")

The title says: "The Canadian Providence. Impressive Leonard Cohen's concert in Belgrade".
Impresivan koncert Leonarda Koena u Beogradu
Kanadsko proviđenje
Branislav Zukić


Dominira utisak da se prisustvuje koncertu kakvih se ne gleda previše u životu. Neverovatni Koenov glas praćen anđeoskim (stvarno nemam manje patetičan, a ubedljiv izraz) ženskim vokalima uvukao se i u najudaljenije kutke Arene. Maestro ne priča previše, u pesme se uživljava toliko da dobar deo njih peva na kolenima, držeći mikrofon u ruci, zatvorenih očiju. Tek posle treće pesme se zahvaljuje učtivim rečima i kreće još jedan klasik, Bird on the wire.

Počelo je vrlo nenametljivo. Svetla su se ugasila u trenutku kada je publika još uveliko dolazila na svoja mesta ( bilo je oko dvadeset do devet- naša stara navika da se malo okasni, šta li je) i po skromnoj, ali vrlo lepo uređenoj bini počele su da promiču senke. Muzičari i pevačice pratećih vokala zauzeli su svoja mesta i ispred mikrofona se pojavila silueta sedamdesetpetogodišnjaka obučenog u tamno odelo, koji je na glavi nosio šešir. Odmah zatim, reflektori na bini se uključuju i pred nama se pojavljuje neko za koga smo mislili da ga nikada nećemo videti u Beogradu. Početak silovit, direktno u srce i rasplinute emocije - Leonard Koen peva Dance me to the end of love. Devojka pored mene vrišti, pokazuje svom momku kako se naježila i obasipa ga poljupcima. Potpuno je razumem - i ja sam preplavljen emocijama, adrenalin unutar mene traži bilo kakav ventil. Jednostavno vikanje ne pomaže. Pomislim - možda bi trebalo da zagrlim nekoga. Par sa leve strane ne dolazi u obzir, nekako bih se tu osećao kao višak, pa se okrećem i malo bolje posmatram svoje najbliže komšije na toj strani - sredovečni brka sa sedim mustaćima možda ne bi imao ništa protiv toga da kroz prijateljski zagrljaj sa mnom podeli ovaj jedinstveni momenat, ali se plašim da njegova žena ne bi na to gledala previše blagonaklono, pa lišavam čoveka neželjenih problema i vraćam se starom dobrom vrištanju.

U tom pokušaju emotivnog pražnjenja prolazi The future, a odmah za njom i There ain't no cure for love. Uz nekoliko povika iz poslednjih redova, među kojima su najčešći bili „pojačaj, majstore" i „glasnije malo” dominira utisak da se prisustvuje koncertu kakvih se ne gleda previše u životu. Neverovatni Koenov glas praćen anđeoskim (stvarno nemam manje patetičan, a ubedljiv izraz) ženskim vokalima uvukao se i u najudaljenije kutke Arene. Maestro ne priča previše, u pesme se uživljava toliko da dobar deo njih peva na kolenima, držeći mikrofon u ruci, zatvorenih očiju. Tek posle treće pesme se zahvaljuje učtivim rečima i kreće još jedan klasik, Bird on the wire. Na Everybody knows dolazi do prvih pokušaja ozbiljnijeg pocupkivanja, da bi atmosferu ponovo primirila predivna In my secret life. Ta pesma ima neku posebnu atmosferu i u svojoj studijskoj verziji, ali, ovako izvedena uživo, otpevana hrapavim Koenovim vokalom, oduzima dah - prvih nekoliko stihova, naročito:

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.
There’s no one in sight...


Pesme se sa nestvarnom lakoćom nižu jedna za drugom, očigledno je da se pred nama nalazi grupa fantastičnih, uz sve to i odlično uvežbanih muzičara. Do kraja prvog dela koncerta sve izvedbe obeležava Koenov „prijatelj iz Barselone”, Havier Mas, čiji žičani instrumenti (da li je "banduria", kako reče Koen, isto što i leut, majku mu?) predstavljaju najočigledniju vezu između velikog španskog pesnika Lorke i Kanađanina kojeg je taj hrabri antifašista „upropastio” (Koenov izraz, molim lepo). Naročito je upečatljiva verzija pesme Lover, lover, lover, a o Waiting for the miracle ne treba nikada posebno trošiti reči. Na kraju prvog dela koncerta, koji je trajao sat i deset minuta, Koen je predstavio sve muzičare i vokale ponaosob, pokazavši još jednom o kakvom se gospodinu radi - sem što se, posle svake pesme, publici zahvaljivao skidanjem šešira i naklonom, radio je to i kod izgovaranja imena svih ljudi koji su sa njim bili na bini. Pre nego što je Koen najavio da će se vratiti ubrzo, da bi izveli drugi deo koncerta, imali smo priliku da vidimo i malo akrobatike na delu - kod predstavljanja The Webb sisters, devojaka koje su dve trećine ženskih pratećih vokala (o trećoj nešto kasnije) Arenom se raširio snažan aplauz, jer su devojke vrlo sinhronizovano izvele, onako s nogu, jedan premet unazad, preko glave, i gipko se dočekale na noge.
Na pauzi kao na pauzi - poneki selebriti, mnogo plastičnih čaša od pola litra ( napunjenih, a čime drugim - pivom) i nemilosrdni okupator prostora- duvanski dim. Koenovih „few minutes" publika shvata malo ležernije, pa i na početku drugog dela imamo situaciju kakvu smo videli i nešto posle pola devet - kroz mrak se, do svojih mesta, prbijaju mnoge siluete, ovaj put pojačane ponečim za grickanje ili nekim osvežavajućim napitkom ( što mene, kao čoveka spartanskih svetonazora, malo nervira, ali ko mi je kriv). Drugi deo je, naravno, bio još bolji. Maestro se povremeno hvatao instrumenata (gitare i klavijatura) a odabir pesama besprekorno je odrađen. Krenulo je sasvim minimalistički - prvo Tower of song ( Koen svira klavijature i peva, prateći vokali i to je, uglavnom sve), za njom Suzanne (zvučala je prokleto isto kao i pre 42 godine, s tim što se promenio jedino Koenov glas) a nedugo zatim i predivnim aranžmanom praćena The Gypsy's wife. Naši neumorni tragači za Dražinim grobom, zatim vajni nacoši i sličan nacionalistički talog, mogao je na Koenovom koncertu da se uveri u nešto što je do juče za njih izgledalo kao naučna fantastika - više od deset hiljada ljudi oduševljeno pocupkuje, aplaudira i peva pesmu koja u nazivu ima tu tako nevoljenu imenicu -Le Chant Des Partisans. Posle bučnog i dugog aplauza, nastupio je jedan od ključnih trenutaka koncerta. Ranije pomenuta treća trećina ženskih pratećih vokala počela je, svojim vokalom koji nije od ovoga sveta, da peva tužne stihove:

O crown of light, o darkened one,
I never thought we'd meet.
You kiss my lips, and then it's done:
I'm back on boogie street.

Šenon Robinson je uspela, iako mi to nismo ni primetili, da zamrzne vreme na trenutak i da ga okuje svojim božanskim glasom. Ravno šest minuta trajala je čarolija, svi u sali su zabazeknuto slušali, ne pomerajući se. I sam Koen je stajao na bini, na svome mestu, spustivši šešir na grudi i netremice gledajući u pravcu Šenon. On , koji je pesmu napisao ( zajedno sa njom ) i čuo je na ovoj turneji ko zna koliko puta, nije mogao da sakrije svoje divljenje. Kakogod ni publika, koja se posle poslednjih taktova bacila na jednominutne ovacije. Pošto se to, kako-tako, primirilo, koncert je nastavljen još jednim klasikom Hallelujah. Ovde je Koen ubacio veoma iskrene i, do kraja koncerta će se pokazati, sasvim tačne prepravke na tekst u vidu „I didn't come to Belgrade to fool you". I'm your man je već praćena snažnijim vriscima, jačim udaranjem u dlanove i pevanjem dobrog dela teksta. Poslednji stih Maestro je prepustio publici. Drugi deo koncerta, dakle njegov oficijelni deo, završila je Take this Waltz, uz ponovno predstavljanje svih muzičara i vokala. Bez pauze, sve to zajedno iznosilo je oko dva sata i deset minuta. Nije loše za nekoga ko ima sedamdeset i pet godina, zar ne? Mada, pokazalo se da nismo ni naslutili šta nas još očekuje.Publika je ustala na noge i burnim aplauzom, lupanjem nogama o pod Arene i uzvicima "Bravo" pozdravila Maestra i njegovu svitu.

Teško je uopšte izbrojati koliko puta su Koen i ekipa izlazili na bis. Koliko puta je ova genijalni čovek gipkim pokretima, nekako čudno izbočenim, sa bine izlazio i na nju se vraćao. Nije to ni važno. Taj dodatni deo trajao je još skoro pun sat. Počelo je sa So long, Marianne, sledila je First we take Manhattan, za njom Famous blue raincoat, ponovo u minimalističkom izdanju. Nju je pratila Maestrova recitacija

If it be your will
That I speak no more
And my voice be still
As it was before
I will speak no more
I shall abide until
I am spoken for
If it be your will
If it be your will

...da bi se sve stopilo u još jedan čaroban trenutak- sestre Webb svojim su glasovima, lirom i gitarom učinile da ritam srca svakog gledaoca odjednom pokaže trend snažnog ubrzanja. Potpuni muk i kolektivna hipnoza, ponovo. A i Maestro ima dušu, mora i on čovek malo da odmori. Vratio se brzo, fascinantnim izvođenjem setne Hey, that's no way to say goodbye i nadovezivanjem na već zadati tok uz Closing time". Ipak, bilo je još malo - „I tried to leave you, I don't deny / I closed the book on us, at least a hundred times/
I'd wake up every morning by your side" uz bluz prizvuk koji je svojom gitarom prizvao Bob Metzger. Na kraju, kolektivni pozdrav, kao posle pozorišne predstave, uz zajedničko pevanje jedne kratke deonice.

Leonard Koen nije propustio priliku da se zahvali onima koji su na koncert došli, zato što održavaju njegove pesme aktuelnim toliko godina, napomenuvši da je prava privilegija nastupati pred publikom kakva je bila u Beogradu. Sve je počelo nešto posle pola devet, a završilo se skoro u prvim minutama sledećeg dana. Ako se uzme u obzir da je pauza trajala nešto malo manje od pola sata, dobija se neverovatna činjenica da nam je Leonard Koen, zajedno sa bendom, priredio tri sata uživanja! Kada su se svetla najzad upalila, nije se moglo videti ništa sem nasmejanih lica i čuti bilo šta sem komentara poput „impresivno”, „neverovatno”, „fenomenalno”, „nestvarno” i slično. Moje najbliže komšije i dalje su bile presrećne, ljubeći se još jače nego na početku, a i ja sam se osećao toliko dobro da mi je ponovo došlo da nekoga poljubim. Sad, pošto se raspored nije menjao, morao sam da odustanem- nije da ne bih namesto brke mogao da zamislim tridesetak godina mlađu devojku nesputane kose, ali me je zadržalo to što sam čuo da brkovi podosta žare kod ljubakanja.

Deci u Fatimi se pre skoro sto godina ukazala Gospa, isto se desilo, koju desetinu godina kasnije, i njihovim vršnjacima iz Međugorja. U onom jezeru malo-malo pa se pojavljuje (ne)postojeće ćudovište, dok se našim ministrima priviđa rast životnog standarda, mirovanje cena i postojanje konkurencije. Čini mi se da sam upravo upao u to ekskluzivno društvo - ja, rab božji, Branislav Zukić, drugog septembra 2009. godine slušao sam muziku koja je toliko dobra da veći deo vremena zapravo zvuči kao proviđenje. Imenovati krivca za to moje nadrealno iskustvo uopšte nije teško. Ime mu je Leonard Koen.
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Re: CONCERT REPORT: Belgrade, September 2

Postby sturgess66 » Tue Apr 13, 2010 5:57 am

"thaichi2010" on YouTube just uploaded a partial of Hallelujah from this show. The quality is A+ - wish it were the whole song - and wish there were more songs!

http://www.youtube.com/watch?v=uecBkKJiEDI
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Re: CONCERT REPORT: Belgrade, September 2

Postby MaryB » Tue Apr 13, 2010 7:28 am

This is definitely a video of primo quality. Wish we knew who this was. Perhaps our forum friends in Serbia would have an idea. Videographer might have taken lessons for IrishAl ;-) Thank you for posting this Linda!
1993 Detroit 2008 Kitchener June 2-Hamilton June 3 & 4-Vienna Sept 24 & 25-London RAH Nov 17 2009 NYC Feb 19-Grand Prairie Apr 3-Phoenix Apr 5-Columbia May 11-Red Rocks Jun 4-Barcelona Sept 21-Columbus Oct 27-Las Vegas Nov 12-San Jose Nov 13 2010 Sligo Jul 31 & Aug 1-LV Dec 10 & 11 2012 Paris Sept 30-London Dec 11-Boston Dec 16 2013 Louisville Mar 30-Amsterdam Sept 20
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Re: CONCERT REPORT: Belgrade, September 2

Postby mnkyface » Tue Apr 13, 2010 9:43 am

ohhhhh, THAT SMILE at the end. :D Love it.

Though it's amazing how fast he transitions to I'm Your Man, isn't it? You can tell that people want to applaud LOTS more. :lol:
"In this world of shallow, he is the abyss."~ YouTube commenter greg450318
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Lyon, July 2008 / Oakland x2, April 2009 / San Jose, November 2009 / Oakland, December 2010 / San Jose, November 2012 / Oakland, March 2013
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Re: CONCERT REPORT: Belgrade, September 2

Postby ladydi » Tue Apr 13, 2010 11:11 am

Thanks Linda once again! It's always a delight to see a new video surfacing from one of the concerts last year. Each one seems to have a slightly different perspective, and yes, the quality of this one is excellent!

@mnkyface...I LOVE that smile too! :D
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Re: CONCERT REPORT: Belgrade, September 2

Postby Okudzhava » Mon Apr 19, 2010 4:11 am

Amazing quality. In fact, I came to this thread with the ctrl+c link only to find it already posted... cheers.

"Wish we knew who this was. Perhaps our forum friends in Serbia would have an idea."

No idea. I'll PM him there...
Belgrade, Serbia, 2. IX 2009.
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Re: CONCERT REPORT: Belgrade, September 2

Postby sturgess66 » Mon May 10, 2010 2:55 am

Nice video uploaded by "thefreewheeler1" on YouTube -

Suzanne
http://www.youtube.com/watch?v=FF6mRvJ_bkg

And a video of a collage of photos from Belgrade uploaded by "thaichi2010" - music "The Partisan"
http://www.youtube.com/watch?v=AwqvA_NHciA
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Re: CONCERT REPORT: Belgrade, September 2

Postby Okudzhava » Sun Sep 02, 2012 9:35 pm

It was 3 years ago today... 210 glorious minutes... also my mother's 60th birthday... highly emotional night. Fingers crossed for the great man's return in 2013.

Image
Belgrade, Serbia, 2. IX 2009.

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