# Silvia Seidel

Silvia Seidel (23 September 1969 – 31 July 2012) was a German actress best known for her portrayal of Anna in the 1987 ZDF television miniseries Anna.The role made her a popular young star in Germany, though she struggled with the pressures of fame and later battled personal and professional challenges. Her life was marked by a combination of early stardom, periods of withdrawal from the public eye, and a later life focused on theatre and smaller acting roles.

## Early life and career

Silvia Seidel was born on 23 September 1969 in Munich, West Germany, to Wolfgang and Hannelore Seidel. She had an older stepbrother from her father's first marriage. She grew up in the Munich suburb of Harlaching. Raised in a supportive, loving environment, Seidel initially pursued ice skating, placing second in a Munich competition at age six, before turning her focus to ballet, training at a ballet school in Munich. Seidel was a very shy child and struggled with shyness and anxiety in school. She enjoyed English and French but disliked maths.
Growing up, Seidel loved big band jazz, such as Glenn Miller, and classic film soundtracks. She was particularly fond of classic films with stars like Fred Astaire, Dean Martin, and Marilyn Monroe. Her bedroom was decorated with posters and pictures of her favorite actors, musicians, and style icons. One of Seidel’s favorite actors growing up was Heinz Rühmann, and she was thrilled when her mother was able to get an autographed picture of him for her. Her mother had written to Rühmann, expressing how much Silvia admired him. The signed picture held a special place of honor in Silvia’s bedroom.
Seidel appeared in small theatre productions in the 1970s and 1980s as well as having a small uncredited role in the 1984 film The NeverEnding Story. Her first TV role came when she had a small role in the TV series SOKO München in 1985. But her career took off when she was cast as Anna in the ZDF Christmas series Anna in 1987, a role that made her a household name in Germany. The series was adapted from the books by Justus Pfaue. The series attracted over 13 million viewers per episode, cementing her place as a prominent young star in German television.

## The Anna phenomenon

Silvia Seidel's casting as Anna was the result of a nationwide search across Germany, where ballet schools held auditions for a young dancer to portray the role. Thousands of girls auditioned, but Seidel was selected for her exceptional natural talent. Anna was a demanding series that required Seidel both to act and to perform complex ballet routines, including scenes from Swan Lake. Despite not having formal acting training, she was praised for her ability to balance these two challenging aspects of the role with skill and dedication. Milena Vukotic, who portrayed Silvia’s ballet teacher in the series, said she believed “Silvia would have a great career as both a dancer and an actress.”
The release of Anna in Christmas 1987 was a turning point in Seidel's career. The series told the story of Anna Pelzer, a talented young ballet dancer who recovers from a serious car accident to become a ballet star and Seidel’s portrayal of the character struck a chord with viewers. The series quickly became a national phenomenon, drawing an audience of millions. Seidel’s performance earned her a dedicated fanbase who sent her thousands of fan mail. The character of "Anna" became iconic in German television history.
It led to a nationwide ballet boom, inspiring thousands of girls across Germany to enroll in ballet classes with dreams of becoming ballet dancers. Anna became a cultural phenomenon that reached across multiple media. The song “My Love Is a Tango” by Guillermo Marchena, which was prominently featured in the series, topped the charts. Seidel's dance scenes were included in the music video, and as a result, she was awarded a gold record alongside Marchena. In addition to the television series, Anna was also adapted into a film for Christmas 1988, which was also a success. The film continued the story of Anna’s journey and struggles, further cementing Seidel’s popularity. She won many awards during this time, including a Goldene Kamera and a Bambi Award. At the 1988 Goldene Kamera awards Seidel met Hollywood actor Kirk Douglas, who proclaimed her “the next big star in Germany.”
However, the fame that came with Anna was both a blessing and a curse. Seidel later spoke of the extreme pressure and scrutiny she was under during this time by the public and media. She felt she could not go to restaurants and enjoy her free time without being constantly scrutinized. Reflecting on fame, she said, “When you go to the bakery, everyone looks at you and follows you; entire school classes run after you.” She added, “When you eat at an Italian restaurant, everyone stares at the spaghetti on your fork.” Silvia described it as overwhelming and noted, “It’s amazing how quickly that happens.”
As a young actress, Seidel was constantly compared to her on-screen persona, which led to difficulties in shaking off the public's perception of her as Anna.The series, which aired during the Christmas season, became a staple in German television, and for many, Seidel would always be associated with her role as the young ballerina. Despite her talent and desire to take on new challenges, Seidel was often typecast and found it difficult to secure roles that allowed her to break free from her Anna image.
Though she had been successful in this role, Seidel’s experience with fame was complicated. She found herself pigeonholed and struggled to move beyond the shadow of her Anna character. She later admitted in interviews that she found it difficult to escape the expectations placed on her by the public and the media. Despite her continued acting career, Seidel was largely remembered for Anna, and the series’ success became both a defining moment and a burden for her.

## International career

After the success of Anna, Silvia Seidel struggled to find major roles in Germany and instead sought to expand her acting resume by appearing in American, Australian and Italian productions. She was unhappy with being typecast in Germany as a ballet dancer, with the only roles being offered ballet roles and expressed desire to become a serious actress.
Her first major role abroad was a starring role in the American film Faith (1990), one of her few appearances in an international film. Although Faith was a commercial failure upon its initial release in Germany, it has since gained a cult following, particularly through home video releases in America and television broadcasts in countries like France and Italy.
Reflecting on the film in 2010, Seidel shared that, despite its limited success, she had positive memories of the project. She particularly enjoyed the opportunity to perform jazz dance and work alongside jazz dancers in America, which she found deeply fulfilling. Director Ted Maher praised her dedication, describing her as “a gifted dancer and a true actress.” In an interview during filming, Seidel expressed that, although she embraced the experience, she felt a deep longing for Germany and the comforts of home during her time in Hollywood.
In 1991, Seidel traveled to Italy and appeared in the TV series " Pronto soccorso" with Claudio Amendola, expanding her international career during this period. Reflecting on her time there, Seidel shared, “I’m proud to be here, even though I have to make sacrifices.” She expressed excitement about the friendships she was building, speaking warmly of her Italian colleagues and the “wonderful hospitality” she experienced. Accompanied by her father, who supported her career closely, Seidel found the Italian lifestyle invigorating. She felt that Rome offered her a chance to prove herself in a new setting, describing it as an “enriching experience.” With aspirations for a more international career, she viewed her time in Italy as a meaningful step forward, professionally and personally.
One of her most significant roles following Anna was in the Australian TV series Halfway Across the Galaxy and Turn Left (1992) which is considered one of her major roles after her initial fame. This 28 part sci-fi series, though not as widely known, was a notable international project in her career. In Halfway Across the Galaxy and Turn Left, Silvia Seidel portrayed Dovis, a character she felt a deep connection with. Reflecting on the role, she remarked, “As for Dovis, we have a lot in common: we both love dance. But Dovis is like a fairy - she talks to animals and loves beautiful flowers. On the other hand, she tends to retreat into her secret inner world whenever she feels threatened or afraid.”
Seidel expressed excitement about filming in Australia, saying, “I’m happy to be working in Australia, getting to know the country and its people.” She found time amidst the demanding shoot schedule to enjoy Melbourne’s vibrant nightlife, remarking, “The nightlife here impresses me greatly - the modern discos, the fine restaurants, the romantic cafes, and the wonderful theaters.” After spending seven months filming in Australia for the 28 episode series, Seidel returned to Munich, reflecting on her time abroad. She described the work as “simply wonderful,” and added that it was “a real challenge for me,” highlighting both her enjoyment and the professional growth she experienced during the production.

## Theatre career

While Seidel did appear in many German television shows throughout the years, she mainly focused her craft in the theatre, where she felt free to fully develop as an actress, away from the pressures of the public eye. She appeared in various plays, both on the stage and in regional theatres, where she enjoyed more creative freedom. She was grateful for the opportunities theatre provided, allowing her to play “real roles” rather than being typecast as the “little blonde ballerina.”
She became a leading actress in the theatre scene appearing in many theatre plays across Germany, Austria, and Switzerland, with leading roles and big attendances. Stefan Zimmermann, Theater Director and co-founder of the a.gon Theater company, with which Seidel worked in her later years, reflected on her talent, describing her as “an extraordinary talent” and noting that she could have taken on any role she desired.
Seidel expressed her deep love for acting, stating, “I fell in love with my profession, but not with everything surrounding it.” Seidel shared that she felt comfortable performing on smaller stages, which allowed her to connect more closely with her audience. These smaller productions gave her a sense of fulfillment and the opportunity to showcase her passion for her craft in a more personal setting.
In 1990 Seidel received great praise for her portrayal of Belinda in the stage adaptation of the 1948 film Johnny Belinda (1948 film) where she played a deaf girl who endures rape and hardship. It was her first leading theater role and she had to learn sign language for the play. She was widely praised by audiences and critics.
In her theater work, Seidel often sought out roles that allowed her to break away from conventional expectations of her image. In the Christmas 1995 play Frau Holle, for example, she opted not to play the role of Goldmarie, the beautiful and virtuous character, instead choosing the part of Pechmarie, the mischievous and ‘unattractive’ figure. Seidel found this role more engaging and fun, reflecting her preference for quirky, challenging characters over more predictable ones.
Throughout her theatre career, Seidel worked with several notable figures, including famed actors like Pierre Brice and Joachim Hansen (actor). She also worked with famed fashion designer Rudolph Moshammer. These collaborations helped to further establish her presence in the German theatre scene, where she continued to perform regularly, maintaining her dedication to her craft well beyond her early television fame.
Seidel reflected on a moment that touched her during one of her theatre performances when audience members who had only known her as Anna expressed their surprise at her range as an actress. She recalled, “They said, “That’s you! We had no idea what else you could play - that’s amazing.” Seidel noted how much such recognition meant to her, especially as she transitioned to smaller stages, finding fulfillment in intimate performances and the appreciation of theatre enthusiasts.
Though her career in television slowed, Seidel remained dedicated to her work as a theatre actress. In 2002, for the political satire ‘Staatsaffairen’, Seidel was nominated for the Merkur Theater Prize, a recognition she appreciated deeply. She mentioned feeling more pride in this nomination than in receiving the Bambi award during her Anna years, as it represented acknowledgment of her talent in serious stage roles, moving beyond the image of the blonde ballerina that had defined her early career. She continued to work regularly in theatre, although by 2011, her appearances became less frequent as she gradually withdrew from the public eye.

## Personal life

Silvia Seidel’s romantic relationships included an eight-year partnership with author Patrick McGinley, which faced challenges, particularly due to her ongoing struggles with depression. Seidel expressed joy in her relationship with Patrick, describing him in a 2011 interview as “the best man she’d ever had and the gift of life.” However, shortly before her death, the relationship ended.
Prior to that, she had a significant 3 year relationship with Uli, a man she met in a nightclub in 1994. They remained together until 1998. In interviews, Seidel expressed that she did not want to marry or have children, stating that having a child was a significant commitment that should not be taken lightly. While she was not interested in marriage, she did express a desire to find the right partner.
In summer 1995, Seidel opened a stand called ‘Silvi’s Sweets n Shakes Shop’ at a summer festival in Munich. She sold pralines, sweets and milkshakes with friends and enjoyed baking as a fun, private activity, though it did attract some media attention, with pictures taken of her at the festival.
In the mid 90s, Seidel also developed an interest in techno music and frequented techno clubs. She attended Love Parade in Berlin in June 1995. Seidel also enjoyed spending time at the Xanadu nightclub in Munich, a lesser-known venue during the 90s. Also in 1995, she appeared in a short student film called “111 Wege eine Frau anzumachen” that was filmed at the nightclub.
Seidel had a fondness for animals. Growing up, she kept guinea pigs, rabbits, including a hamster named Speedy and a rabbit named Sammy. In her later years, shortly before her death, she had two guinea pigs named Dean Martin and Jerry Lewis, named after the famous entertainers.
In June 2002, Seidel fulfilled the wish of a young girl through the charity organization Wünsch Dir Was. Marlene was eight years old and recovering from leukemia. A fan of Anna, Marlene had watched the series while in the hospital and wished to meet Seidel. The two spent a day together at the zoo, a memory Marlene later described as a wonderful, happy experience. A photo of the visit appears on the charity’s website.
During the filming of ‘Anna Der Film’ in 1988, Seidel’s 18th birthday was celebrated on set, and although her co-star Ronnie Janot (who portrayed her brother in the series) was not scheduled to be there, he joined to mark the occasion, reflecting the closeness of their bond. Their friendship continued beyond Anna, with Seidel later sharing in a 2001 interview that Janot was the only person from those days with whom she had stayed in touch. In 1996, they reunited to perform in a theatre production together, showing how their connection endured well beyond the Anna years and into quieter times on stage.
Seidel was happy that as the years passed the fame of Anna faded and she was allowed to live an ordinary life, only being recognised occasionally on the street. She enjoyed the anonymity that she had so long craved for during the height of her Anna fame. Reflecting on an offer to appear on Ich bin ein Star – Holt mich hier raus! (commonly known as Dschungelcamp) in a 2012 interview, she remarked, “I would never go on Dschungelcamp; then all my efforts (for anonymity) would have been in vain.”

## Relationship with her father

Silvia Seidel's relationship with her father, who was also her manager until the late 1990s, has been a subject of public scrutiny. Some reports, including statements from the Kessler Twins, who were landlords of the house Seidel and her father rented in the mid-90s, suggest that her father exerted considerable control over her life and career. The Kesslers mentioned that her father made significant financial decisions, including spending much of their money refurbishing a house they did not own, which led to financial difficulties for Seidel and her father. They also described a sense of domination, suggesting that Seidel was unable to make decisions without her father’s approval.
However, in a 2007 interview, Seidel offered a different perspective, defending her father’s actions. She acknowledged that while her father was not a professional manager and made mistakes, she felt that his motivations were rooted in his desire to protect her, particularly after the death of her mother. Seidel explained that she could not refuse her father’s request to manage her career, as she believed he had little to live for after the loss of her mother.
After her mother’s death, Seidel described her relationship with her father as one of intense closeness, saying “We clung to each other.” In an interview, she also shared how her father was “like a good friend” with whom she could discuss everything. “My father means a great deal to me. But we’re not constantly together. Everyone has their own life.” This positive reflection offers insight into their bond and provides a contrast to rumors suggesting a more controlling dynamic. She also revealed her deep fear of losing him, saying, “I am terribly afraid that my father will suddenly no longer be there.” This fear highlighted the emotional impact of her mother’s death and the significance of her father’s presence in her life.
Despite claims from others, such as the Kessler twins, that her father exerted control over her, Seidel demonstrated her independence by changing her manager in 1998, making a decision on her own to move in a new direction with her career. Seidel stated, “In life, things must change for professional reasons. It just so happened that someone else is now managing the business.” When asked if her father had accepted this change, she responded, “He has to accept it.” Despite the change, she affirmed, “Of course, he’s still very interested.”

## Personal struggles

Silvia Seidel was affected by deep anxiety and fear throughout her life, something which she referenced in an interview in August 2007: "My fear ruined a lot for me. It is the opposite of freedom. I had so much fear and self-doubt that I couldn't enjoy beautiful moments." “I am my own biggest problem,” Silvia reflected in a 1993 interview. “My moods, my fears - they’re always there. I overthink everything, and in doing so, I end up wearing myself down.”
Even at the height of her fame, Seidel experienced periods of anxiety and self-doubt. In an interview from 1990, she opened up about the emotional challenges of her career, describing feelings of unease and fatigue that would arise during times without work. ‘If I can’t act for a long time, I fall into an emotional hole,’ she admitted, highlighting the emotional toll of an unpredictable career. She expressed that, while she loved acting deeply, the uncertainty of the profession sometimes left her feeling emotionally vulnerable. In 1995, she spoke openly about her ongoing struggles, stating, “Sometimes, I just don’t know what to do anymore. I explode, cry, scream.” She also noted that a future partner would need to be “very understanding, especially knowing that I also have psychological issues.”
Continuing from her August 2007 interview where she opened up about her struggles with anxiety, Seidel shared that despite her history of anxiety, she felt very good at that moment and hoped it would last. However, when asked about where she saw herself in five years, she admitted, “I am sure life will still have some difficult moments in store for me.”
In the latter years of her life Seidel suffered from depression. This was most likely inherited from her mother, Hannelore, who died in September 1992, and her mother's early death devastated her. Seidel’s father, Wolfgang, died in 2008, further compounding the challenges she faced.

## Impact of mother's Death

Seidel's mother Hannelore had suffered from depression since Seidel was a child. She spent the last years of her life in and out of clinics. She described how her mother, Hannelore, had become increasingly withdrawn, expressing a profound desire to no longer live. In the summer of 1991, while Seidel was filming in Rome, her mother attempted suicide and had to be restrained, lying in a hospital bed with bars. “That was the first time I ran away from my mother,” Seidel recounted. Her mother remained in the hospital for eleven months, during which Seidel and her father stayed in close contact with her. “Our phone bill was gigantic,” she noted. Reflecting on their years together, she shared, “For twelve years, the three of us (Seidel, her father, and her mother) fought against this terrible despair.” Yet, a painful realization lingered in her mind: “And suddenly it became clear to me – someday, everything will have been in vain.”
Seidel voiced her frustration with the medical care her mother received at the clinic, revealing that a doctor had assured the police there was no immediate risk of suicide. As a result, when Hannelore disappeared from the Max Planck Institute in Munich, the police, reassured by the doctor's statement, drove past their apartment twice but did not enter. Tragically, this meant that vital time was lost, and Hannelore took her own life. Reflecting on this, Seidel stated, "That could have saved her. I will never forget that." At the time, she was in Regensburg with her father, filming for the TV series Cluedo – Das Mörderspiel.
Seidel spoke openly about the deep emotional pain her mother experienced due to depression, describing the overwhelming turmoil. As she explained in a 1993 interview: “It’s real. You actually feel like something inside is about to tear apart. It hurts so much! And you just think: I can’t handle this anymore!.” Reflecting on the severity of her mother’s condition, Seidel also said: “She suffered from an illness worse than AIDS and cancer combined: depression.”
Seidel shared the profound emotional toll of growing up with a mother struggling with severe depression. She reflected, “I was 14 when Mom knelt down before me, laid her head in my lap, and cried bitterly. Throughout this time, her mother would also constantly tell Silvia that she wanted to die, leaving her to carry a heavy emotional burden from a young age as she tried to support her mother.
After her mother's death, Seidel spoke openly about the depth of her grief, even admitting to having suicidal thoughts. She shared, "Sometimes I feel a sense of peace, thinking she must be okay up there now. But I also know the feeling: the urge to follow her. It's only the people close to me that hold me back. I couldn't do that to them."
Reflecting on the loss of her mother two years later, Seidel shared, “At first, I was sad and aggressive. I closed myself off, and I didn’t care about anything.” Over time, she expressed finding comfort in the belief that her mother’s soul was still with her, saying, “Today, I know that the soul stays, that Mother is still with me and helps me.” She mentioned that she would sometimes visit her mother’s grave late at night, when no one else was around, to pour out her heart.
Seidel expressed how deeply her mother’s death had altered her outlook on life, saying, “I will never be carefree again. Now I understand my mother much better – this hopeless, dark existence.” This reflection underscores the profound impact her mother’s struggles with depression had on her, leaving a lasting mark on Seidel’s own perception of life.
As the years passed, Seidel continued to raise awareness about mental health, openly discussing the shadow depression had cast over her family. In 2006, she appeared on the talk show NachtCafé in an episode titled “Burned out, depressed, tired of life - ways out of the crisis,” where she reflected on her mother’s battle with depression, sharing her experience to shed light on the illness.

## Media scrutiny

After the death of her mother Silvia Seidel faced an emotional upheaval. While grappling with her personal grief, she also became the subject of intense media scrutiny. The German press, eager for sensational stories, began to speculate about her life and struggles. Gossip surrounding her mother’s death, and Seidel's subsequent retreat from the public eye, contributed to her sense of isolation.
The media's focus on her private life, especially during such a vulnerable period, was deeply hurtful for Seidel. She revealed that media harassment intensified her suicidal thoughts during this period, but her friends and father supported her through it. Friends and colleagues later spoke about how the press exacerbated her emotional struggles, with rumors and sensational headlines often casting her in a negative light. The intense media pressure only deepened Seidel’s desire to withdraw from the public eye, and it significantly impacted her mental health.
Seidel expressed immense frustration and powerlessness over the way her mother’s death was portrayed in the media. She described wanting to run out onto the street and scream, “That’s not true, please don’t believe what’s in the newspapers. It was all so different.” She lamented the helplessness she felt, saying, “You’re so powerless, so helpless, you can’t do anything.”
During the aftermath of her mother’s death, Seidel and her family faced relentless harassment from the media. Even in the privacy of their home, they were not left in peace. Journalists repeatedly rang the doorbell for hours, despite the blinds being drawn. The family, desperate for privacy, resorted to crawling on the floor in an attempt to avoid being seen. This intrusion underscored the invasive and unrelenting nature of the media’s focus on Seidel during this difficult time.
Even attending her mother’s funeral was a deeply distressing experience due to the press intrusion. To avoid reporters, Seidel and her father were driven to the secret burial site in a car with tinted windows by a family friend. They both lay under blankets in the backseat as their friend repeatedly ran red lights to evade the paparazzi who were following them. This account highlights the relentless media pressure that denied Seidel even a moment of peace during one of the most painful times of her life.
This intense media scrutiny of Seidel’s personal life, particularly following her mother’s death, also led to intrusive and unwelcome public attention. On one occasion, a note was left on her car that read, “Why did you leave your mother alone?.” This deeply hurt Seidel, adding to the emotional strain caused by the media’s invasive coverage and exacerbating her sense of grief.
Despite her talent and early success, Seidel found it difficult to navigate the world of fame. The public's fascination with her personal life and the scrutiny she faced from the press added to the burden she carried. Her emotional distress was compounded by the tragic and intrusive nature of the media coverage at the time of her mother's death.
In a 2003 interview Seidel openly criticized the tabloid press, stating, “I have no respect for these people anymore, no regard, nothing at all. They do an absolutely disgusting, cheap job.” Reflecting on her experiences, she explained that her relationship with the media had been irreparably damaged, and she now carefully considered whom she spoke to, preferring, whenever possible, to avoid engaging with journalists altogether.
In one of her last interviews, Seidel expressed frustration with how the media continually framed her life as a ‘great fall,’ referring to her personal struggles. She pointed out that, despite this narrative, she had been consistently and successfully working in theatre and occasionally on television. She resented the way the media reduced her life to a singular narrative of decline, rather than acknowledging her ongoing contributions to the arts.

## Other notable roles

Silvia Seidel worked with renowned actors Marianne Sägebrecht, Oliver Reed and David Warner (actor) in the 1996 comedy "Luise knackt den Jackpot", which showcased her talents in a lighthearted and comedic setting.
Another memorable moment in her career was her uncredited role as a fairy in the cult classic "The NeverEnding Story" (1984). Although her role was small, it was part of the iconic fantasy film that became a beloved classic.
In 2005, Seidel appeared in the music video for "Sometime", a track by British electronic musician Richard Davis. The music video added another layer to her artistic expression and was a notable moment in her later career.
In the later stages of her career, Seidel had a significant role in the popular German soap opera Storm of Love in 2007. Though she appeared for only a few months, her part was substantial and Seidel express delight in getting a lengthy TV part. On German television she starred with prominent actors like Ottfried Fischer and Horst Frank.
In Seidel’s final major television role, she portrayed a ballet teacher in the Soko München episode titled ‘Das Blut der Ballerina’ (‘The Blood of the Ballerina’), a murder mystery centered around a young ballet student. Her role as a strict yet melancholic ballet instructor offers a poignant echo of her iconic role in Anna, connecting the early and latter stages of her career.
In addition to her acting career, Seidel also lent her voice to several prominent characters in German language dubs. Notably, she voiced Fanny Price in the 1999 German version of Mansfield Park. Seidel also provided the voice for Betty Ross in the 1996 animated adaptation of The Incredible Hulk. Additionally, she voiced Empress Savina and Norda in the 2000 fantasy film Dungeons & Dragons and Madeleine in the 2000 French film The King Is Dancing, bringing these characters to life for German-speaking audiences.

## Final years

In her later years, Silvia Seidel continued to struggle in finding meaningful film and television and roles and spoke about her frustrations with the challenges of securing work in the acting profession. In a 2010 interview, Seidel expressed anger over the lasting impact of Anna on her career, stating that the role had overshadowed her opportunities and, in her words, “ruined” her life. She felt frustrated that despite her efforts to be recognised as a serious actress, the industry continued to see her primarily through the lens of Anna, limiting her chances to pursue a broader range of roles. Seidel reaffirmed her dedication to acting despite the challenges, noting in the same interview, “My job isn’t that of a lawyer, doctor, or baker - I’m an actress. And it’s a hard profession, and it’s hard to find work.”
Though Seidel also expressed frustration in her final interview in April 2012 over always being associated with Anna, she also stated that she didn’t regret the role, describing it as “a beautiful time". Also in her final interview, when asked if she would have done anything differently, she reflected: “I would perhaps consider training - as a second source of income. I could well imagine myself as a nurse or geriatric nurse. Jobs in which you do something meaningful and get a fixed monthly salary.”
Despite her struggles, she remained active in theatre. In her last years Seidel worked closely with the a.gon Theatre company in Munich, who she worked with for the last theatre play of her life: "Zusammen ist man weniger allein." Seidel expressed genuine enthusiasm for the production. She shared that she was particularly drawn to the story’s positive portrayal of relationships, calling it “a modern fairy tale.” Seidel noted, “It’s rare that things turn out so well in life.”
Seidel's mental health deteriorated in her final years, which was exacerbated by her father’s death in September 2008. On the occasion of her 40th birthday in 2009, Seidel expressed that she would not be celebrating due to the recent loss of her father. In an interview, she shared that it was a “particularly hard day,” as it reminded her not only of her father’s death but also his recent birthday. She said, “I’m just glad when the day is over. It’s in no way a happy birthday.” Despite the sorrow, she found comfort in the presence of her partner, Patrick McGinley, saying, “Actually, the only thing I’m grateful for is that my boyfriend is here with me.” When asked if she had any wishes, she expressed, “I wish for health, to stay together with my boyfriend Patrick, and to always have work.”
Her financial struggles also took a toll on her mental health. She shared in an interview : "I am often unemployed and then I don't know how I am going to pay the rent. I am happy to still have a job at all, I have to take what I can get. It is difficult to live off of it.”
Seidel attempted suicide in late 2011 and was treated at the Max Planck Institut für Psychiatrie clinic in Munich from late 2011 until spring 2012, the same clinic where her mother had previously been treated.” After being released she expressed a desire to return to work at the a.gon Theatre, from which she had taken a leave of absence due to her illness. Stefan Zimmermann remembered: “I can still see her standing in my office. She was full of courage and plans.”
Seidel’s final public appearance occurred in April 2012 during the television show Let's Dance (German TV series). Behind the scenes, she appeared cheerful, joked with others, and remarked, “I’m doing well. I’ve been performing a lot in theater for years and live a completely normal life.” However, shortly afterward, she attempted suicide again, and her relationship with her boyfriend, Patrick McGinley, ended.

## Insights from a close friend

Following Silvia Seidel’s suicide attempt in spring 2012, her close friend Iris von Zastrow, co-founder of the a.gon Theatre company with Stefan Zimmermann, invited her to stay at her summer house by Lake Constance. “It took a long time before she opened up,” Iris recalled, noting Seidel’s deeply withdrawn nature. Gradually, they found common ground, and the more Iris spoke with her, the clearer it became that Seidel’s struggles were due to a serious illness. “Her depression was a severe neurological condition, inherited from her mother,” Iris explained.
They had planned on opening a cake shop together, a project inspired by Seidel’s love for baking, but her declining health made this impossible. “I had even found a location for it,' Iris recalled, emphasizing that it wasn't a lack of life perspective that hindered Seidel, but rather the severity of her condition. Losing her mother, who was her “everything”; had left a profound and lasting impact on her. Reflecting on Seidel’s feelings, Iris shared that Seidel “wanted to stop constantly having anxiety and just not live anymore,” a sentiment she expressed repeatedly to Iris.
In the months leading up to her passing, Seidel began to distance herself from close friends, including Iris. “Silvia wanted it that way,” Iris explained,as she had already planned her suicide. Reflecting on Seidel’s treatment, Iris remarked, “The medical system absolutely failed Silvia.” She added that even the clinic where Seidel was treated just months before her death was aware of her suicidal intentions, yet released her without adequately adjusting her medication. “That’s the crazy part,” Iris said, expressing frustration over what she viewed as a systemic failure in providing proper care. When asked if she was aware of Seidel’s intentions to take her own life, Iris responded: “I always hoped that she would not do it.”

## Last weeks

In the final weeks of her life, she was regularly seen in a bar near her apartment. The barmaid has made claims about being her only friend but these claims have been rejected by her close friend Iris. Stefan Zimmermann stressed that Seidel was not left alone, and that Iris had visited her at the clinic, took Silvia on holiday, and that even after Seidel had returned to her apartment, friends were looking out for her.
Maria, the barmaid, recalled that during her final weeks, Seidel seemed distant and quiet. She mentioned that Seidel often listened to two songs on the jukebox at the bar by the singer Siw Malmkvist: ‘Primaballerina’ and ‘Liebeskummer lohnt sich nicht.’ Maria noted that these songs seemed to bring Seidel a brief moment of happiness. According to Maria, Seidel openly shared her grief over the end of her relationship with Patrick McGinley, her financial struggles, and her feelings of sadness and hopelessness.”
Her co-star in Anna, Patrick Bach, stated that in summer 2012 he and Seidel rehearsed scenes for a potential new series for Sat.1 called "Anna and Rainer 30 years later." Bach said that had she lived she may have had a major comeback on television.

## Death and funeral

On 31 July 2012, at the age of 42, Silvia Seidel tragically died by suicide in her Munich apartment. She lay dead in her apartment for a number of days. Maria, the barmaid, who could see Seidel’s apartment from her window, noticed the light was on continuously for days. She assumed Seidel was studying for a role but eventually got suspicious and called police, who discovered her body. It was reported at the time that her death was due to an overdose of tablets; however, no official cause of death was ever released. Iris von Zastrow mentioned that Seidel’s suicide attempt in spring had been with tablets.
Seidel wrote several farewell letters to people close to her, including Iris from the a.gon Theatre. Her death shocked her friends, family, colleagues and an entire generation of Germans who grew up watching Anna. She was scheduled to perform with the a.gon Theatre in the play König der Herzen, but she died before she could take part. Rehearsals were set to begin in September 2012.
Her funeral was attended by close family members and friends, including her half brother. Although her theatre colleagues were not invited to Seidel’s funeral, they later gathered at her graveside with flower bouquets to hold a private memorial. Iris shared that this gathering was very important to them, as “Silvia had deeply touched us all so much.”
Seidel is buried with her parents in a urn grave in Waldfriedhof Grünwald Munich. Her death was a tragic end to a life that had been marked by both incredible success and immense personal struggle.
Anna author Justus Pfaue described Seidel in an obituary as a loveable and delicate person. “Silvia gave more love than she could accept,” Pfaue said. She never used her elbows, either on set or in life. However, Pfaue notes, “To succeed in this profession over the years, you have to be able to use your elbows. Silvia didn’t want to, or perhaps couldn’t, do that.” Pfaue expressed deep regret, stating, “Someone should have checked in on her in the final years. Someone should have asked how she was doing. Someone should have offered help.” He continued, “I feel ashamed today: that someone could have been me.”

## Legacy

Silvia Seidel's legacy is largely defined by her portrayal of Anna, which remains one of the most beloved roles in German television history. Despite the personal and professional challenges she faced, Seidel's work in Anna continues to be celebrated by fans of the series. Her role as Anna cemented her place in German television culture, and she is remembered as one of the most iconic young stars of the 1980s.
Her later life, marked by ongoing depression and a retreat from the spotlight, serves as a reminder of the toll that fame can take, particularly on young stars. Seidel’s death brought attention to the struggles faced by those who grow up in the public eye and the need for more awareness and support for mental health issues in the entertainment industry.
Seidel’s legacy is not only defined by her acting career but also by her openness regarding her struggles with mental health. She spoke candidly about her own battles with anxiety and fear, challenges that were intertwined with the grief she experienced after her mother’s death. Seidel worked hard to raise awareness of depression, particularly in the context of her mother’s death, using her platform to highlight the emotional struggles that many face in silence.
She was also vocal about the suicidal thoughts she endured, helping to raise awareness around mental illness at a time when such topics were less openly discussed. Her willingness to address her personal struggles in interviews helped to break the stigma surrounding mental health and provided a voice for those facing similar challenges. Through her honesty, Seidel contributed to a broader understanding of the complexities of mental illness, leaving a lasting impact on the conversation about mental health in the public sphere.
Though Seidel’s life was short and filled with personal difficulties, her contributions to film, television, and theatre are still remembered, along with her role in raising awareness about mental health and depression.

## Filmography

* The NeverEnding Story (1984)
* Anna [de] (1988)
* Faith (1990)
* Mompen!? (1995) (short)
* 111 Wege eine Frau anzumachen (1995) (short)
* Luise knackt den Jackpot (1996)
* Daily Benefits (2004) (short)
* Tobi (2010) (short)

### Television

* SOKO 5113 (1986-2011) (3 Episodes)
* Anna (1987)
* Anna - Eigentlich heiße ich Silvia Seidel (1989)
* Pronto soccorso [it] (1992)
* Halfway Across the Galaxy and Turn Left (1993)
* Cluedo – Das Mörderspiel (1993)
* Ein unvergeßliches Wochenende in St. Moritz (1995)
* Parkhotel Stern (1997)
* Der Pfundskerl (2002)
* Um Himmels Willen (2002)
* Cleaning Up [de] (2003)
* Tramitz & Friends (2004)
* Leipzig Homicide (2005)
* Siska (2006)
* Sturm der Liebe (2007)
* Unter Verdacht (2007)
* Der Alte (2007-2010) (5 Episodes)
* Die Rosenheim-Cops (2008-2011) (2 Episodes)
* SOKO Kitzbühel (2009)
* Da kommt Kalle (2009)
* In aller Freundschaft (2009)
* Forsthaus Falkenau (2011)
* Weißblaue Geschichten (2013)

### Dubbing

* The Incredible Hulk (1996 TV series) (1996/1997) – [Betty Ross]
* Lewis and Clark and George (1997) – [George]
* Mansfield Park (1999 film) (1999) – [Fanny Price]
* Memento (film) (2000) – [Leonards Ehefrau]
* Dungeons & Dragons (2000 film) (2000) – [Empress Savina & Norda]
* The King Is Dancing (2000) – [Madeleine]

### Theater

* Vier Frauen und ein Unfall as Heike
* 8 Frauen as Louise
* Die süßesten Früchte as Claudia
* Die Erbin as Catherine
* Romantische Komödie as Phoebe
* Ein Sommernachtstraum as Puck
* Staatsaffairen as Irene
* Sonntag in New York as Eileen
* Midsummernight-Sexcomedy as Ariel
* Bitterer Honig as Josephine
* Johnny Belinda as Belinda
* Wege mit Dir as Raika
* Zusammen ist man weniger allein as Camille
* Nie wieder arbeiten as Nicole
* Ein Fünf-Sterne-Mann as Agueda
* Frau Holle as Pechmarie
* Ein Traum von Hochzeit as Judy
* Hotel zu den zwei Welten as Marie
* Der Kreis as Catherine

### Music video

* Guillermo Marchena - My Love Is a Tango (1988)
* Richard Davis - Sometime (2005)

## Discography

* Phantom Lover (Single) – 1990
Released to promote the film "Faith" (1990).

## Awards

* 1987: Goldene Kamera
* 1988: Bambi
* 1988: Telestar, Förderpreis
* 1988: BRAVO-Otto (Bronze) in the category TV Star

## Book

* Anna und ich. Tagebuch einer jungen Karriere. (1989)