Otto Maurenbrecher

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Otto Maurenbrecher in Cottbus

Otto Maurenbrecher (* 1872 in Königsberg ; † 1960 ) was a German actor , director and theater manager .

Live and act

Otto Maurenbrecher comes from the well-known Düsseldorf postmaster family Maurenbrecher and was the son of the historian Wilhelm Maurenbrecher and his cousin Mary Maurenbrecher. Otto's brothers were the classical philologist Berthold Maurenbrecher , the actor Wilhelm Maurenbrecher and the theologian Max Maurenbrecher . The songwriter Manfred Maurenbrecher is Otto Maurenbrecher's grandson.

After completing his acting training and individual seasonal engagements, Maurenbrecher took over the position of director at the Stadttheater Cottbus in 1911 as the successor to Max Berg-Ehlert . A year later, he decided to offer operas all year round and signed an orchestra that had now grown to 32 musicians. After the debut with Beethoven'sFidelio ” , Maurenbrecher had almost 30 operas and operettas as well as popular concert evenings performed under the first conductor Hans-Philipp Othmer , before the First World War then caused a longer concert break.

Maurenbrecher stayed in Cottbus until 1920 and one year later moved to the Krefeld and Mönchengladbach theaters , which were merged in 1921, as the successor to Reinhold Pester . Here he placed more emphasis on acting, without, however, curtailing the skills of his Kapellmeister Curt Cruciger. Maurenbrecher stayed at the Stadttheater Krefeld-Mönchengladbach until the unexpected, rapid dissolution of the merger agreement in 1923 and then spent another season in Krefeld.

In 1924 Maurenbrecher took on an engagement as director at the Aachen Theater . Until 1927, Maurenbrecher attached great importance to maintaining classical and, above all, contemporary works. Under his direction, the opera brought out several premieres, including, for example, “ The Vampire ” by Heinrich Marschner adapted by Hans Pfitzner , “ The Kiss ” by Bedřich Smetana based on an adaptation by Leo Schottländer, “ Mona Lisa ” by Max von Schillings , “ Abu Hassan ”by Carl Maria von Weber and“ Die Opernprobe ”by Albert Lortzing . With the acting department he staged, among other things, “ Peer Gynt ” by Henrik Ibsen and “ A Woman Without Meaning ” by Oscar Wilde as premieres in Aachen and “Dover-Calais” by Julius Berstl and “Papiermühle” by Georg Kaiser .

Nevertheless, Maurenbrecher had to struggle with financial problems during his time in Aachen and therefore turned to the Aachen population with an appeal to attract more season ticket subscribers. His employer, the city administration, did not find this unauthorized appeal appropriate and there were violent tumults and mutual accusations regarding this situation in the culture committee and, connected with it, discussions about the further obligation of Maurenbrecher.

Maurenbrecher finally drew the consequences himself and moved to the United Theaters of Elberfeld-Barmen in 1927 , where he received a six-year contract. On the occasion of the city union of Elberfeld and Barmen in 1929, this theater group was named Städtische Bühnen Wuppertal and Otto Maurenbrecher was taken over as its first director. Maurenbrecher put the focus in the former "Elberfelder Haus" on drama and in the "Barmer Theater" on opera performances.

Just as in Aachen, he had to struggle with increasing financial difficulties in Wuppertal and in 1932 also accept an independent theater company sponsored by the city. This meant that not all performances could be implemented as planned, and so he ended his engagement in Wuppertal prematurely on May 31, 1932 and was replaced by Paul Smolny.

From 1933 Maurenbrecher took over as the successor to Hans Fiala as artistic director at the Theater Plauen and from 1937 at the Theater des Volkes in Berlin-Mitte . Then his track is lost.

Web links

Individual evidence

  1. A journey through time with many encounters , in Lausitzer Rundschau from October 1, 2012
  2. Theater Krefeld and Mönchengladbach on fmgrollen.de
  3. Wuppertaler Bühnen on fair-hotels.de