Maria Forescu

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Maria Forescu (1895)

Maria Forescu , born Maria Füllenbaum (born January 15, 1875 in Chernivtsi , then Austro-Hungarian monarchy , now Ukraine ; † 1942 or 1943 in Berlin?) Was an Austrian operetta singer and film actress .

Life

After completing boarding school in Paris , Maria Forescu studied singing, music and acting at the Prague Conservatory .

At the turn of the century she made her debut as an operetta singer and soon appeared at the renowned Vienna Carltheater . After she rose to star there, she made guest appearances on stages all over Europe. She then went to Berlin, where she appeared at the Theater des Westens , the Operetta Theater and the Metropoltheater.

From this time there are references to recordings on the "Parlophone" label of the Lindström concern. The advertisement in the “Parlophone” catalog (approx. 1910) mentions z. B. "P.1375 Puppen-Aria", adOptte "The Doll" (Audran), P.1351 Tarantella adOptte "Gasparone" (Millöcker). Maria Forescu, Berlin, with orchestra accompaniment Kapellmeister F [riedrich] Kark.

After she had worked in a film for the first time in 1911, she gave up singing in 1915 in favor of her film career. The best-known films in which Maria Forescu has worked - mostly as a supporting actress - include Veritas vincit ( Joe May , 1918), Peer Gynt ( Richard Oswald , 1919), The Indian Tomb Part 2: The Tiger of Eschnapur (Joe May , 1921), Marizza, called the Smuggler Madonna ( Friedrich Wilhelm Murnau , 1922), Hanneles Himmelfahrt ( Urban Gad , 1922), Nju ( Paul Czinner , 1924), Die joyllose Gasse ( Georg Wilhelm Pabst , 1925) and The Gypsy Baron ( Friedrich Zelnik , 1927).

Her type was preferably that of the lightly apron gypsy. At the turn to the sound film she appeared several times in films of her friend Harry Piel (e.g. his best friend , Bobby goes , shadow of the underworld ). The last well-known films in which Maria Forescu appeared were Gerhard Lamprecht's Between Night and Morning and Hans Behrendt's Danton (both 1931).

After the NSDAP came to power , Maria Forescu, who was of Jewish origin, did not find any more engagements and was expelled from the Reich Film Department in 1938 .

Most recently she found refuge with Maria Hirschburg in Motzstrasse in Berlin-Wilmersdorf. On August 15, 1942, she was supposed to be deported to the Riga ghetto on the 18th Osttransport (serial number 469) . She probably never arrived there because she was on the deportation list (“Füllenbaum called Forescu, Maria, January 15th 1875, Chernivtsi, single, unable to work ”) was deleted again. In all probability, the seriously ill and no longer transportable artist died in Berlin between summer 1942 and the end of 1943, possibly of natural causes.

Filmography

literature

  • Hans-Michael Bock (Ed.): CineGraph. Lexicon for German-language films. Edition Text + Criticism, München 1984 ff. (Loseblattausgabe).
  • Martin Koerber: Maria Forescu, phone Neukölln 1329. A search for clues. In: Dorothea Stanić (Red.): Close-up Neukölln. Cinemas, cameras, copier. Argon-Verlag, Berlin 1989, ISBN 3-87024-153-5 , pp. 79-82.
  • Ulrich Liebe: adored, persecuted, forgotten. Actor as a Nazi victim (= Beltz-Taschenbuch. Vol. 168). With audio CD. Beltz, Weinheim 2005, ISBN 3-407-22168-1 , pp. 228-229.
  • Kay Less : Between the stage and the barracks. Lexicon of persecuted theater, film and music artists from 1933 to 1945 . With a foreword by Paul Spiegel . Metropol, Berlin 2008, ISBN 978-3-938690-10-9 , p. 120.

Web links

Individual evidence

  1. For more information, see Kay Less: Zwischen Bühne und Baracke , Berlin 2008, p. 121. There it says: "A deportation to the Buchenwald concentration camp can be ruled out, as can often be read"
  2. The Holocaust Survivors and Victims Database of the US-American Holocaust Memorial Museum comes to the same conclusion and states in the case of the misspelled artist ("Maria Frotescu") that there was no deportation