Leonard Cohen
709
CD de audio
9 ofertas desde 20,01 €

Descripción del producto

Nearly 40 summers ago on August 31, 1970, 35-year-old Leonard Cohen was awakened at 2 a.m. from a nap in his trailer and brought onstage to perform with his band at the third annual Isle of Wight music festival. The audience of 600, 000 was in a fiery and frenzied mood, after turning the festival into a political arena, trampling the fences, setting fire to structures and equipment - and stoked by the most incendiary performance of Jimi Hendrix's career. As Cohen followed Hendrix's set, onlookers (and fellow festival headliners) Joan Baez, Kris Kristofferson, Judy Collins and others stood side-stage in awe as the Canadian folksinger-songwriter-poet-novelist quietly tamed the crowd. Academy Award-winning documentary filmmaker Murray Lerner (From Mao to Mozart, Festival, Message to Love), perfectly captured Cohen's performance. Likewise, Columbia Records staff A&R producer Teo Macero did a brilliant job of supervising the live audio recording. This Blu-ray, transferred from the original 16mm film into High Definition, contains this new, beautiful film documentary by Lerner featuring interviews with fellow festival performers and Cohen's classic songs, poetry and stories. 16mm Film Transfer to Full 1080i High Definition PCM (uncompressed) Stereo (96khz/24 bit) Dolby True HD 5.1 Surround (96khz/24 bit) Dolby Digital 5.1 Surround (640 kbps)

Detalles del producto

Relación de aspecto ‏ : ‎ 1.33:1
Descatalogado por el fabricante ‏ : ‎ No
Dimensiones del producto ‏ : ‎ 17,2 x 13,5 x 1,2 cm; 81,65 gramos
Número de modelo del producto ‏ : ‎ 886975882991
Formato multimedia ‏ : ‎ PAL
Tiempo de ejecución ‏ : ‎ 1 hora y 4 minutos
Fecha de lanzamiento ‏ : ‎ 19 octubre 2009
Actores ‏ : ‎ Leonard Cohen
Subtítulos: ‏ : ‎ Italiano
Idioma ‏ : ‎ Italiano (Dolby Digital 5.1), Inglés (DD 5.1 Surround), Inglés (Dolby TrueHD 5.1), Inglés (PCM Stereo)
Estudio ‏ : ‎ Sony Music CMG
ASIN ‏ : ‎ B002LLDTA4
Número de discos ‏ : ‎ 1

Clasificación en los más vendidos de Amazon: nº45,024 en Películas y TV (Ver el Top 100 en Películas y TV)
- nº1,867 en Videos musicales y conciertos
- nº43,640 en Películas (Películas y TV)

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4,7 309 valoraciones

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Carlos Manuel Dema Pérez

Imprescindible si te gusta el estilo de Cohen

Revisado en España el 15 de marzo de 2014

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Leonard Cohen es un clásico para los que pasamos de los 40. Lo que siempre hecho de menos es que venga adjunto un fichero con las letras celas canciones para facilitar algunas traducciones.

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maria l

rapidez

Revisado en España el 23 de junio de 2015

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rapidez seriedad y producto en perfecto estado, merece la pena, no hubiera pensado queun concierto de hace tantos años estuviera tan bien grabado.

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Bill R. Moore

Essential for Fans

Revisado en los Estados Unidos el 20 de enero de 2010

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1970's Isle of Wight Festival was one of the landmark events in popular music history, comparable to the prior year's Woodstock. 600,000 people heard some of the era's most popular and significant artists over five days. There were multiple great performances, but at least as important culturally and historically is what the crowd itself did - in a word, explode. About three times as many people showed up as expected, many without paying. A wall was put up to keep out the latter, and the crowd rebelled. The wall was knocked down, and many things were set on fire - including the very stage during one of Jimi Hendrix's most famous performances, as well as several instruments. Some of the less incendiary performers, such as Kris Kristofferson, were pelted and/or booed offstage. Fed up and perhaps scared, director Murray Lerner, there to film the festival, packed up before Cohen's performance.

Such was the atmosphere when Leonard Cohen was due to play after Hendrix - a near-impossible act to follow in any case, needless to say. Pushing his already seemingly bad luck, Cohen insisted on a piano and organ when told they had been burned and pushed offstage, taking a nap in the meantime. He was eventually woken up and casually took his time getting dressed - putting clothes over his pajamas - and tuning. Then, with complete calm and something like mastery, he took the stage. Even then he did not launch into his long-awaited - his current album was #2 in the UK - and long-delayed performance but strolled gingerly to the microphone and gave a long allegory about attending the circus as a child. Finally, after an impromptu little song about the moment, he slowly lead into his then-popular, now-classic "Bird on a Wire" - and the rest was indeed history.

Cohen gave an excellent, hour-plus performance that is one of his most significant. By rights it should have been released at the time or in intervening decades, as have live albums by several other artists at the event. It may have been held back because Cohen had an ongoing studio album - Songs of Love and Hate -, three songs from which appear here, and/or because he had a live album a few years later. The recent Cohen revival - which sees him more popular than ever in many places, including America - finally and thankfully ensured the release fans have been wanting for almost forty years. Perhaps to make up for lost time, and benefitting Cohen's new status, it was put out in a deluxe CD/DVD edition with informative liner notes and a generous set of photographs. A few people may have preferred separate CD and DVD editions, as with Cohen's Live in London from earlier in 2009, but most fans would have bought both and will appreciate the convenience - especially as the package costs little more than either would have alone. It is also nice compensation for what might otherwise seem inadequate: the concert is relatively short; the DVD lacks several songs; and sound/picture quality, while remarkable considering the equipment and the age of the tapes, are of course not up to current standards.

First I will review the CD, which has Cohen's whole show. Simply put, it is a fine performance that fans, especially of Cohen's early work, will love and appreciate. Those close to Cohen were worried that he would be heckled or even driven offstage as prior low-key performers had been, especially as he was in no hurry, but he remained calm and gave a mesmerizing performance. Against all odds, the crowd was supremely respectful, hanging onto every proverbial word - a true testament to the performance and perhaps to Cohen's droll, unhurried demeanor. He is calm, confident, and collected, calming the frenzied crowd into a near-trancelike state. Cohen played most of the best songs from his first two albums, including "Suzanne," and three as yet unreleased: "Diamonds in the Mine," "Sing Another Song, Boys," and "Famous Blue Raincoat." These were saved until near the end and doubtless greatly appreciated. Probably everyone will miss a favorite or two, but the selection is hard to fault. Anyone who likes Cohen's early live album Live Songs will surely like this significantly more, as selection is notably superior and performances more consistent. A breathtakingly intimate "One of Us Cannot Be Wrong" is the highlight for me, but others may have different preferences; there is really no weak performance.

A significant bonus is that, as is his wont, Cohen also recites several poems. His choices are short and humorous, and the crowd responds approvingly. Perhaps even more interesting, and certainly more valuable in being unique to the show, is Cohen's frequent trademark onstage banter. He has an unusual voice and way of speaking for a popular music performer; one can tell he was used to reciting poetry, which truly makes him stand out from the mindless shouting and crowd enticing of most festivals. He also has a generous, if offbeat, sense of humor. All this comes out in several stories and song introductions; the latter sometimes have interesting information but are also valuable in themselves as samples of Cohen's impromptu speech. Some of what he says may have been rehearsed, but it is delightful to hear talk specifically for this crowd. He makes several insightful comments showing he was both part of and well outside the dying hippie movement, including several subtle digs at its superficiality, and the crowd reacts with a curious mix of appreciation and ambivalent silence. Perhaps most memorably, Cohen throws in "I know there are a lot of Maoists and atheists out there, but..." during the repeated "You've won me, my lord" at the end of "Lady Midnight." Pushing such a hostile crowd so hard was a considerable risk, and we must admire the pure chutzpah. Cohen was apparently heckled only once, responding, "Are you calling me a fascist pig again?" The ensuing laughter deflated the potentially fatal situation, leaving him undisputed master of the crowd. Neophytes may be puzzled and/or turned off by Cohen's banter, but it will delight fans.

I have no real complaints about the performance, but a few quibbles that are essentially matters of taste will affect various listeners differently. For example, some nice lyric changes aside, the performances, in marked contrast to Cohen's latter-day approach, are generally quite similar to studio versions. This means arrangements are very minimalist - shockingly so for those used to Cohen's more expansive later renditions. Those not fully entranced by the words and/or Cohen himself may thus think the concert begins to get somewhat monotonous. However, this is true of his first four studio albums as well as his first live record; anyone who likes those will have no problem. Even so, one cannot help wondering why Cohen bothered having a band, especially such a large and prestigious one. Besides additional guitar, it features banjo, fiddle, electric bass, and other instruments, though notably no percussion. Hand-picked by legendary producer Bob Johnston - who appears on piano, organ, harmonica, and guitar against his better judgment but at Cohen's insistence -, it consists mainly of the day's best country session musicians. These players - including a pre-fame Charlie Daniels, a strange Cohen companion in many ways - were highly skilled and in great demand. Cohen was quite lucky to get them, and it seems a shame not to use them more. All songs are dominated by Cohen's acoustic guitar; several feature only it or very little else. When others do chime in it is usually only a musician or two at a time - ironically mostly Johnston, who contributes several fine organ fills and some other nice bits. The DVD shows that the band looks bored much of the time, as one might expect; they after all basically just watch Cohen like everyone else much of the time. They even seem occasionally restless, especially Daniels. Perhaps Cohen simply did not mesh well with them, despite the notes' claims. In striking contrast to his current tour, he does not seem to have much rapport with them, issuing commands gruffly and ignoring Daniels when he smilingly gets up and tries to play fiddle at Cohen's mic. As one might expect, the band has a very country sound when it does kick in; this works surprisingly well with Cohen's music and will be well appreciated by those who, like him, love country music. The band is quite good in these rare moments, making it easy to wish it had been used more. These are not really big issues musically; the minimalism keeps the focus on the words, where it should always be in Cohen, but he does seem waste some fine talent.

Also, though Cohen's signature emotion is ever-present and we can have no doubt that he pours his proverbial heart into each song as few singers can, his voice is more than usually off-key and seems to grow tired at times. He has of course never been a technical singer, which unfortunately scares many away from his great work immediately, but it is more than normally apparent here. The performance will certainly not will new converts, but this should be a non-issue for fans.

As for the DVD, it is of course great that we actually see Cohen perform, which is always interesting. However, unlike seemingly everyone else, I have some problems with the film as a film, though for admittedly subjective reasons. I personally hate ostensible concert films that intersperse documentary footage with performance. It is not that I fail to appreciate such footage; I indeed like it significantly, but it ruins the flow of the music for me. This film has relatively little of this but still does it occasionally. There is also not enough documentary footage; it would have been nice to have a lot more, as the concert is relatively short. There are short clips of recent interviews with Joan Baez, Judy Collins, and Kristofferson, but they fail to say anything that is not already common knowledge or in the booklet. The absence of Cohen himself is also painfully felt; his long interview in the recent documentary I'm Your Man would seem to suggest he is not inaccessible, though he is certainly busy these days. As for the actual festival, the only footage is a short bit at the front of attendees talking about Cohen and a few very short crowd segments dispersed throughout the performance. The only interesting bit is Baez addressing the unruly crowd situation. Surely more footage could have been found. An entire documentary of the festival was made by the same director, and it would have been worth using some of it here if nothing new could have been unearthed. Those who have seen it might not care for the overlap, but a self-contained Cohen film would have been convenient. As always, I would have preferred to have all non-musical footage either before or after the performance or as extras.

Another problem is lack of camera angles; nearly the whole performance is a close-up of Cohen's face. This is indeed where the camera should be most of the time, but such ubiquity becomes monotonous. Close-ups of the band when it is playing would have been appropriate, and there should certainly be more crowd shots. This may have been unavoidable to a large extent. As Lerner decided to stay at a late moment, two of his three cameras were already put away. However, this is not really an excuse; one could easily say he should not have packed up, even if it is hard to blame him, and there should have been enough time in the long gap between the Hendrix and Cohen sets to get the cameras ready. Besides, and more fundamentally, he could have gotten more variety even with one camera. For example, he could have at least backed away from Cohen slightly so we could see his guitar; this is done a few times but not nearly enough. Lack of crowd shots is more understandable; it was dark, and Cohen himself frequently mentions that he cannot see the people, which surely made it all but impossible to get good shots.

More importantly, several songs are missing, as is some of the banter and all the poems. This is inexcusable if left out on purpose, as these segments are at least as good as those used and give some wished-for variety since "Diamonds," at least, features the band fairly heavily. It may be that these parts were never filmed or that the footage has been lost, though a few songs are heard or shown in fragments in the introduction. This is a significant defect, but the others are relatively minor, and all Cohen fans should enjoy the film; indeed, all seem to enjoy it rather more than me.

All told, this is a must for Cohen fans, especially those who particularly like his early work. Fans of later material may be somewhat underwhelmed, but this is a worthy and important performance from his early period and worth seeing just for its insight into this stage of his career and for historical value. No fan should be without it.

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Christopher Z

The music of Leonard Cohen shines in a classic performance from his prime

Revisado en los Estados Unidos el 21 de octubre de 2009

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Academy Award-winning documentary filmmaker Murray Lerner has unearthed quite a gem in making this film featuring Leonard Cohen's mesmerizing Isle of Wight performance from 1970. The 64-minute film deftly weaves modern interviews from relevant performers and associates of Leonard Cohen with the vintage musical performance by Cohen and his band, the affectionately named "Army" comprised of such stalwarts as legendary music producer Bob Johnston.

The audio quality is a sonic revelation, obliterating my expectations for a live multi-track recording from 1970 staged in front of 600,000 fans that had gotten rowdier as the festival progressed. Jimi Hendrix had performed his set before Cohen, with the crowd setting various things on fire like a piano and the scaffolding surrounding the stage. But the music was not to be denied, as Leonard Cohen slowly took the stage after they found a replacement piano and organ.

At 4 a.m. on August 31, 1970, the man introduced to the crowd as "a novelist, a poet, an author, a singer", began his intimate performance that encompassed most of the hits that had earned him acclaim, from "Bird On the Wire" to "Suzanne" and other well-known songs mainly from his first two albums. A nice surprise are the short stories Cohen shares and poem fragments he uses to introduce many of the songs. The crowd, who had booed previous performers like Kris Kristofferson, sat in rapt attention to the mostly acoustic set. My only quibble is that the complete audio performance by Leonard Cohen is not included on the Blu-ray. The CD version includes a couple of songs not shown in the documentary. I have no idea if the footage simply did not exist or was simply left out at the director's discretion.

The Blu-ray, on a single BD-25, is transferred from the original 16mm camera negative to 1080i. This is not footage that is going to blow viewers away by its visual quality. In fact on an absolute basis, the BD is well below the norm expected for high-definition titles. Prepare for an experience of limited visual quality. It is true that this Blu-ray replicates as closely as possible the 16mm film source the concert was shot in. The modern interviews, with such luminaries as Judy Collins and Joan Baez, are all in excellent picture quality, but do remind the viewer of the inherent limitations in the concert footage. Still, it looks like much of the other concert footage I have seen from the era on the Blu-ray format. The only notable defect is the continual appearance of an ultra-thin vertical black line that runs down the middle of the camera image on tight close-ups of Leonard Cohen. It looks to be the result of a continuous gate scratch on the original 16mm film. A small emulsion error in the original master also appears in the corner of the frame, later in the concert.

On a technical basis the transfer looks perfect without a hint of artifacting, revealing every limitation and nuance of the source material. The AVC encode consistently runs at very high bitrates, most of the time in the thirties. I would estimate an average video bitrate of 31 Mbps, which allows the fuzzy film shot in questionable lighting conditions to reveal its full resolution on Blu-ray. The image has a low-contrast appearance that is soft and has moments of poor focus. The black levels have some minor exposure problems, revealing a bit of noise. This is not a transfer with remarkable shadow detail, or even average detail, but looks on par with other concert footage I have viewed from the period. The Woodstock documentary on Blu-ray has similar picture quality. Tiny white specks that look like flash bulbs do pepper the image from time to time. It rarely becomes a distraction though.

The picture quality is tolerable enough to enjoy the real benefit of this BD release, the uncompressed high-resolution stereo PCM track at 24-bit/96 kHz and the lossless 5.1 Dolby TrueHD soundtrack. Both are simply spellbinding and really the only way one should listen to this material. Mastering engineer Mark Wilder has done an outstanding job. The music shows absolutely no signs of limiting or compression, and reproduces without fault this live audio document. I wish most music releases were mastered this carefully. There is not a hint of thinness to the sound, and the fidelity is surprisingly great for a project of this nature. At times the songs approach the quality of the studio versions in dynamics and clarity. The producer did not attempt to cover up any deficits in the original recording though. A few microphone pops occur and occasionally instruments bleed into other channels. The audience is barely audible most of the time except during the musical interludes. With both SACD and DVD-Audio being commercially irrelevant for the major music labels, this disc is the best fidelity we will ever see this music presented in a commercial medium.

A lot of care and thought has gone into the packaging and presentation of this release. Included is a 16-page booklet that has wonderful photographs and top-notch liner notes by Sylvie Simmons. The booklet reproduces the same content of the booklet included in the CD/DVD release, but in a much larger format that is easier to read and enjoy. It really makes the numerous archival photographs easier to appreciate. It is rare to see such entertaining and insightful liner notes that significantly add to the product, but that is plainly the case here. Aside from a menu, there are no extras on the disc itself.

Currently this BD is an exclusive title at the Internet retailer Amazon. Fans of Leonard Cohen need to go out and pick this item up immediately. The concert is a window to a much younger looking-and-sounding Leonard Cohen. The sound quality alone is enough reason to buy it, for Cohen truly invests emotion and vigor into the performance that puts a new spin on songs for fans only familiar with the album versions. His vocal inflection adds a bit of emotional weariness to "The Partisan" for example that is simply not there on the album version. The only lackluster performance is "Famous Blue Raincoat", where it sounds as if Cohen's voice grows fatigued. The backing musicians all give splendid accompaniment to the music, though the camera rarely shows them aside from the two comely female singers at Cohen's side.

Subtitles available:
Spanish
English
French
Dutch
Italian
German

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Amazon Customer

An essential recording!

Revisado en los Estados Unidos el 14 de junio de 2023

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I attended a concert one wintry evening during Leonard Cohen's last tour. It was the best performance I heard--ever. Any recording of one of his concerts brings back such wonderful memories!

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Tino Dittrich

Für mich persönlich das gefühlvollste Leonard Cohen Konzert überhaupt auf CD und DVD

Revisado en Alemania el 13 de noviembre de 2016

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Ich hatte mir dieses CD/DVD Set ein paar Tage vor dem Tod von Leonard Cohen bestellt. Ich weiß auch nicht warum, aber irgendwie wollte ich noch nicht an sein neues Album "You want it Darker" You Want It Darker heran. Deshalb habe ich mir "Live at the Isle of Wight 1970" bestellt.

Es war eine gute Wahl. Denn auf dieser DVD erlebt man einen beeindruckenden Leonard Cohen mit seiner "Army" Begleitband. Wie er 600.000 Menschen alleine durch seine Songs und Gedichte in seinen Bann ziehen kann. Es ist ein Konzert voller Magie und Intensität. Leider ist es ja eine Dokumentation, so werden auf der DVD einige Songs teilweise von Kommentaren von Kris Kristofferson, Bob Johnston, Joan Baez oder Judy Collins kurz bei den Anfängen unterbrochen. Dafür ist dann die CD besser, die das Konzert in voller Länge und ohne Kommentare wiedergibt. Ich hätte mir gewünscht, dass es irgendwie das Konzert ohne nachträglich eingearbeitete Kommentare als Bonus gibt, aber man kann ja nicht alles haben.

Doch wenn man die Doku-DVD anschaut, erlebt man wirklich die Magie, die nur Leonard Cohen so entfachen konnte.

Zum CD/DVD Set gibt es noch ein sehr ausführliches Booklet mit sehr interessanten Texten von Sylvie Simmons, Murray Lerner und Steve Berkowitz. Überhaupt ist das gesamte Set sehr gut gestaltet und aufgemacht, mit vielen einprägsamen Bildern von Leonard Cohen. Man hat das Gefühl beim Anschauen oder Anhören, ein Stückchen dabei zu sein, damals 1970 auf der Isle of Wight.

Deshalb absolute Kaufempfehlung für alle Leonard Cohen Fans und die es werden wollen. Hier fühlt man Leonard Cohen und seine Songs gehen tief ins Herz.

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Zarathustra

Poet, Mystic, Songwriter, Singer and Living Legend

Revisado en los Estados Unidos el 22 de octubre de 2009

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I have been listening to Leonard Cohen since 1967's Songs of Leonard Cohen. I have nine of his CDs on my shelf and 60 songs on iTunes plus 58 covers, which range from beautiful (e.g. Famous Blue Raincoat by Jennifer Warnes, an early backup singer) to wacky. It has been a common opinion through the years that Cohen does not have a good singing voice, hence the need for others to cover his songs. To which I reply: au contraire. Did Bob Dylan have a great voice? Well, no. But he was a great poet, songwriter, and singer. So is Cohen. It's true that his singing is sometimes off key, as was that of his compatriot Neil Young, but we forgive him for it.
Cohen never had the financial success of Dylan, but he is selling out concerts today at the age of 74. His recent DVD Live in London is a revelation. I have always avoided the concerts by has-been singers in their seventies that appear on PBS along with annoying sales pitches to buy the DVD for only $5 a month. But Live in London is different. He is like a wine that improves with age. He is deep.
This DVD from the Isle of Wight in 1970 gives a rare view of a young Cohen who had the power to inspire, heal and calm a large crowd that was out of control. You can see it in their faces.

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Leonard Cohen Live at the Isle of Wight 1970

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Género	Pop, Leonard Cohen Live at the Isle of Wight 1970, Leonard Cohen
Formato	PAL
Colaborador	Leonard Cohen
Idioma	Inglés
Duración	1 hora y 4 minutos