Berlin (dpa) – Dagmar Manzel has just made her way through the Berlin traffic, now she has to do radio interviews.
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Nowadays she photographs the three-part piece "Unterleuten" for ZDF, soon she will be in the Komische Oper and for the 80th time in the two-person game "Gift" with Ulrich Matthes in the Deutsches Theater on stage. The day of Manzel seems an eternity. No trace of haste.
Florian Gallenberger's film novel "It does not get any greener", said the gardener and flew away ", which she recorded with Elmar Wepper, has now been released." The Manzel "is currently running in several external ARD programs. close-up of the artist.
Television, film, stage, lectures and many ideas – that the life of Manzel a & # 39; logistics masterpiece & # 39; is, according to her, should only be part of the truth. The actress and singer, who turns 60 today, is not easy to shock. Her blue eyes radiate peace. Which of course the audience feels.
She called an "anti-diva" Barrie Kosky, the director of the Komische Oper Berlin. Manzel is an essential glamor factor in the most colorful of the three Berlin music theaters. "Singing, singing," she summarizes her formula for success.
Or as a brash seductress and confounding artist in the musical, as Commissioner Paula Ringelhahn in the Frankish "Tatort" or as a tragically dead Green-politician Petra Kelly in the film – in comedy or drama, Manzel always stays close to him. Excessive urgency is not their thing.
In "Menschenskind", an interview book about her life, you meet an artist who is curious about her world, but also protects herself against bad luck, such as the early death of her father or her own cancer nine years ago.
This is all gone when she appears as an Egyptian queen with a Berlin muzzle in the operetta that rediscovers "The Pearls of Cleopatra", or in the long forgotten operetta "Ball im Savoy" by Paul Abraham or the dark Stetl romance "Anatevka" . Then furious game pairs with subtle humor. Manzel has helped the (apparently) light compartment to a new high.
With Kosky she had thought when she was talking in her garden: "What can we do together?" They would have played for hours. But actually it was clear.
With his revolt in the operetta, Kosky has once again inspired the spirit of the legendary metropolitan theater and the German-Jewish entertainment tradition that was destroyed by the Nazis. And anyway, Manzel has long been the interpreter of touching songs by Friedrich Hollander and Richard Heymann, who fit exactly. So it came, as it had to come. She found her master in Kosky, she says – and the Australian, one of the most creative directors of the day, found his operetta in the muse.
Already under Kosky's predecessor Andreas Homoki she had sparkled into the musical Cole Porter & # 39; s Kiss me, Kate & # 39 ;. Since then, the ideas of Manzel have always been sold out.
Her role model is Fritzi Massary (1882-1969), a metropolitan star and style icon of the Golden Twenties & # 39 ;. The Berliners were at her feet, her clothing dominated the fashion, from the stage she flirted with the audience. Then came the Nazis, the Austrian Jew had to flee, she did not return to Germany.
In the solo program by Manzel, the songs from the 1920s and 1930s sound like the wistful echo of a lost time. When they are Holländer & # 39; s & # 39; I am in love from head to toe & # 39; introduces, the classic becomes an all too human confession – of the triumphant certainty with which Marlene Dietrich once made the number famous in the & # 39; Blue Angel & # 39; is not feeling anything. "Sentimentality is not my subject, I'm emotionally interested in a song – I would never do that," Manzel said.
The daughter of a teacher-set grew up with operas and operettas. At home she sang the records of Maria Callas and orchestrated orchestras in front of the mirror. Then a friend discovered her comical talent, at a certain point Manzel surprised the parents with the decision to go to the drama school.
She presented the monologue of Luise from Schiller & # 39; s "Kabale und Liebe" at the Staatliche Schauspielschule in East Berlin. She is berlinert hilarious, she says in her memory book. "If our soul has only drank one time, Ooge will see the eyes of Jesus in every corner." She was taken anyway – and after a year and a half came to the Dresdner Schauspielhaus. In 1983 she moved to the German theater, where she worked closely with the director Heiner Müller.
Time and again she asked Müller to let her sing on stage. Manzel fulfilled this desire later – and now costs him extensively. The Kosky contract goes to 2022. And what then? "Nice," she says. Then she will think of something else.
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