Der 44-jährige Frank Lange wird mit seiner Krebsdiagnose konfrontiert: der entdeckte Hirntumor ist bösartig und nicht operabel, wie ihm sein Arzt im Krankenhaus mitteilt. Dem Familienvater, der mit Ehefrau Simone und den beiden Kindern Lilly und Mika in einem neuen Reihenhaus am Berliner Stadtrand lebt und einer geregelten Arbeit nachgeht, werden nur noch wenige Monate gegeben. Unterstützt von seiner Familie nutzt er sein iPhone, um täglich das Fortschreiten seiner Krankheit zu dokumentieren.
A renowned actor named Otto is the epitome of the problematic but beloved ladies man. Even when drunk he still knows more about filmmaking than does the amateur who is directing him in his latest movie. But what should the unreliable star do when a local actor joins the crew as his understudy? Comic situations arise not only because of the well-known environment, but also from an inclination to authentically capture the various relationships.
According to German theological tradition, which Bach knew very well, the alto voice was the very symbol of the Holy Ghost. Bach's three solo cantatas for alto demand enormous vocal virtuosity. Their extraordinary musical variety embraces sublime consolatory lullabies, a faithful echo of an organ concerto and the dramatic qualities of an oratorio. Andreas Scholl is the featured soloist in this reissue, backed by Philippe Herreweghe and the Collegium Vocale Gent.
Two pairs, each married for quite a long time, are living in a small east German town. The film focuses on the relationships between each of the four people and what happens when an affair takes place between two of them who are not married to each other and logically betraying the two remaining characters. This event leads to deep thoughts about marriage, friendship, relationships and last not least life itself.
Countertenor Andreas Scholl's new CD is devoted to little-known, late-17th- and early-18th-century cantatas whose subject matter is Arcadia, a real region in Greece, but more frequently evoked as an idyllic place filled with innocent, simple shepherds and shepherdesses. Scholl employs a more operatic tone and attitude than we're accustomed to from countertenors. Not only does he use vibrato and "lean" on the voice, but he dips down, as in the final moments of a cantata by Marcello, into a deep, dark baritone range. The effect is dramatic and apt. Elsewhere his tone is just gorgeous and always expressive, he pays attention to the text of these works and captures the theatrical moment in each. The last movement of a work by Francesco Gasparini is excitingly acrobatic. The Accademia Byzantina is a remarkable "backup" group and they get to play some purely orchestral works as well. This disc is a knockout; enjoy it.–Robert Levine