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Wolfgang Krebs (Kabarettist)

Wolfgang Krebs (Kabarettist)

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Wolfgang Krebs (Cabaret Artist) – Parodist, Author, Stage Virtuoso

The Chameleon of Bavarian Satire – A Portrait with Depth

Wolfgang Krebs, born on August 31, 1966, in Seefeld (District of Starnberg), is one of the most influential voices in German political cabaret. As a parodist with exceptional stage presence, as an author, and as a radio comedian, he has shaped the Bavarian and national satire landscape. His artistic development showcases a rare mix of craftsmanship, precise observational skills, and a deep love for language — from his early music career in radio and audio drama to sold-out solo performances and TV recordings.

Krebs became widely known to the public through his punchy transformations into Bavarian political celebrities. Whether it’s Edmund Stoiber, Horst Seehofer, Markus Söder, or Hubert Aiwanger — his impersonations hit the tone, posture, rhythm, and rhetoric with surgical accuracy. This artistic maturity, combined with fine timing and a musical sensitivity to the melody of language, makes him a focal point in the BR cosmos and on stages across the country.

Biography: From Post Office Clerk to Cabaret Professional

Wolfgang Krebs’ path did not lead straight into the world of cabaret. After completing secondary school, he trained as a post office clerk before finding his way to the stage through alternative educational routes and the media industry. As a studio manager at Radio Ostallgäu and later in a leading role at ProSieben, Sat.1, and RTL II, he closely observed the workings of the media business. At the same time, he participated in acting workshops in Berlin and London, gaining stage experience and refining his vocal and performance craft.

This early media competence shapes his cabaret to this day: Topic research, material development, dramaturgy, and arrangement follow a professional workflow. His artistic evolution is traceable — from radio studios to TV comedy, culminating in solo performances where Krebs brings his character worlds to complex cabaret evenings.

Breakthrough on Television: "quer" and the Art of Political Parody

A key moment came in 2004 with his regular presence on the BR show "quer," where Krebs initially made a name for himself as an Edmund Stoiber impersonator and later completed the trilogy of prime ministers featuring Beckstein and Seehofer. His stage presence in front of the camera is based on a razor-sharp analysis of political rhetoric: Speech tempo, breath control, vowel shaping, and sentence melody become a comedic score that Krebs plays with virtuosity. Later roles included Markus Söder and Hubert Aiwanger — always precise, never merely imitating, but interpreting.

In formats like "Asül für alle" on BR, Krebs showcases his versatility. Scenic vignettes, rhythmized punchlines, and accurate timing lead to a dramaturgy that carries both live and on television. His television and media formats document the constant artistic development and the ability to translate cabaret into various distribution channels.

Solo Programs and Discography: Dramaturgy, Character Cosmos, Sound

Krebs’ solo programs are dramaturgically well composed: Running gags, refrain motifs, and thematic recapitulations give his evenings cohesion. Since the late 2000s, he has created defining solos such as "Die Stoiberschau" (2007), "Ja mia kennan!" (2009), "Drei Mann in einem Dings!" (2012), "Können Sie Bayern?" (2014), "Die Watschenbaum-Gala" (2016), "Geh zu, bleib da!" (2018), "Vergelt’s Gott!" (2020), "Bavaria first!" (2023), and currently "Bayern liebt DICH!" (2025/26). His discography includes satirical audio releases like "Ja, mia kennan!" (2010), "Drei Mann in einem Dings" (2013), or "Können Sie Bayern" (2014); in addition, there are books in which he delves into character and dialect art.

On recordings, his use of vocal timbres and acoustic space is particularly impressive: Where facial expressions and gestures lead on stage, in audio production, the nuances of articulation, microphone work, and timing take center stage. The result feels like an acoustic showcase — precise, dense, and highly recognizable.

Style and Technique: When Rhetoric Becomes Music

Krebs works like a composer: He listens to the prosody of politics and orchestrates it. His parodies are miniaturized character studies, where breath, syllable weight, pauses, emphases, and body rhythm merge into a performative score. This arrangement makes the characters come alive, gives them depth, and generates that peculiar recognition that triggers both laughter and insight. In the tradition of German political cabaret, Krebs combines pointed social analysis with fine dialect artistry.

His artistic development has always remained closely tied to the present. As trends in media and politics shift discourses, Krebs adjusts form, pace, and themes. This keeps his programs current without sacrificing substance for quick wit. He balances between satirical sharpness and empathetic observation — a trademark that distinguishes him from mere parody.

Cultural Influence and Reception: BR Presence, Awards, Audience

As a fixed presence in the BR cosmos, in stage programs and TV recordings, Krebs shapes the perception of political language in popular culture. His parodies have become a form of acoustic folklore: They circulate through performances, media libraries, and clips, sharpening awareness of how rhetoric acts politically. Reviews consistently highlight his precision, versatility in roles, and confident stage presence.

The list of awards documents his authority in the field: from the Arts and Culture Prize of the City of Kaufbeuren (2010) to the "Unterföhringer Mohr" (Audience Award), the Franconian Cabaret Prize (2019), the Bavarian Order of Merit (2022), and the Sigi-Sommer-Taler (2025). Nominations, such as for the Grimme Prize (2015, show "Habe die Ehre"), underline the quality perception in the professional community.

Television and Media Moments: Year-End Highlights and BR Specials

Outstanding TV moments solidify his popularity. The BR special "Wolfgang Krebs – Live on Stage! – Bavaria First!" was recorded on May 20, 2025, at the Wirtshaus im Schlachthof and broadcast as a primetime show. Such TV highlights translate the live intensity of his programs into a television format without losing the scenic pulse. Media library formats with excerpts from "Geh zu, bleib da!" illustrate how well his characters also function in condensed best-of clips.

The reach of such broadcasts ensures that younger audiences know Krebs not only from the stage but also via streaming and media libraries. Thus, a transmedia audience is growing that consumes cabaret not just in theaters, but also on demand — a relevant factor for the sustainability of his brand.

Current Projects 2025–2026: “Bayern liebt DICH!” and Tour Dates

With "Bayern liebt DICH!", Krebs presents a satirical vision on stage: Bavarian homeland founds its own social network — a narrative impulse that combines media criticism, political folklore, and a parody of local customs. The content of the program closely aligns with the zeitgeist, addressing media power, digital folklore, and political staging. Previously, "Bavaria first!" varied the motif of a sovereign "Republic of Bavaria" as a comedic experiment, delivering pointed state-of-the-art satire.

The ongoing performances in 2026 demonstrate unbroken demand: Sold-out venues, rescheduled dates, and TV-related changes express a vibrant touring practice. The production partners from the live and ticketing sector show how professionally the environment is organized — from ticket sales to TV recordings.

Works, Books, Audio: The Cosmos Behind the Characters

In addition to live performances, Krebs has published books that delve into his character worlds and dialect artistry. From fairy tale interjections ("Sternreisen") to the collection "Nur Bayern im Kopf!" he introduces readers to the genesis of his characters in workshop form. The audio releases preserve the voice as an instrument and provide the reference for how he works with nuances, breath, and comedic pauses. Together, this creates a stylistically confident discography of political cabaret.

The balance of his programs remains remarkable: The humor glows warmly, the observations hit sharply. It is precisely this tension that generates longevity in the audience's memory — laughter that explodes in the hall and resonates in the mind.

Voices of the Fans

The fans' reactions clearly show: Wolfgang Krebs captivates people worldwide. On Instagram, a fan raves: “The parodies hit every syllable — great cinema!” On YouTube, one comments: “Stage presence, timing, text — one of the best cabaret artists of our time.” On Facebook, it says: “So much Bavaria in one voice — rarely laughed so much and recognized so much.” On TikTok, a listener comments: “Seconds, and you know who is meant. Legendary!”

Conclusion: Why Experience Wolfgang Krebs Live?

Because his art is created in real time. Wolfgang Krebs’ cabaret is a highly musical craft at the intersection of language, politics, and performance. His stage presence translates societal tensions into comedy — respectfully, pointedly, with substance. Those who want to understand how political speech sounds and influences experience a masterclass in rhetoric as music with Krebs. In the tradition of German political cabaret and yet completely unique — that’s what makes him exciting. Recommendation: see him live, be close, hear and see the metamorphosis.

Official Channels of Wolfgang Krebs:

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