We are thrilled to announce that Tanz magazine has named Friedemann Vogel “Dancer of the Year” for the second time in their international critics’ survey, to celebrate his recent remarkable performances of Akram Khan’s Kaash and Kenneth MacMillan’s Mayerling in 2019. Global Arts Link is so honoured to represent this superlative Kammertänzer and Stuttgart Ballet principal dancer! Congratulations Friedemann!
Global Arts Link is excited to add Belgian-Taiwanese choreographer-dancer Chen-Wei Lee’s latest production kNOwn Face 不要臉 to our list of international touring productions. In this dazzling new solo using a self-held camera and live projections, Chen-Wei takes an in-depth look at the selfie phenomenon, bringing the audience up close and personal to the performer, to confront this form of modern-day narcissism, with a clever pun on “shamelessness” in the Chinese title.
Friedemann Vogel’s has received critical acclaim for his performance of Akram Khan’s seminal early work “Kaash”, as part of the Stuttgart Ballet “Breath-taking” triple bill that premiered 28th June. From Kenneth MacMillan’s hugely demanding “Mayerling” to Akram Khan’s kathak-informed contemporary dance, Friedemann once again wins over critics and audience alike with his versatility and electrifying performances.
Here’s a link to excerpts and interviews on SWR with choreographers and dancers Friedemann Vogel and Agnes Su ahead of the “Breath-taking” premiere:
Friedemann Vogel will be performing Sébastien Bertaud’s “Nuit Blanche” with special guest of the Festival Gala: Eleonora Abbagnato in the Spoleto Festival on Sunday 30 June, an evening dedicated to Italian ballet stars, with invited international artists.
“But there is no Mayerling without a Rudolf. Friedemann Vogel, one of the world’s finest male dancers, took on this mammoth role, the first of three Stuttgart Crown Princes. It now stands as a considerable achievement in his artistic maturity, such was the intelligence he brought to this complex and many-layered part. His Crown Prince was just that, a young man brought up to be Emperor, and his off-hand arrogance was portrayed with perhaps greater clarity than any other interpreter your critic has seen. Vogel cuts a handsome, elegant, noble figure and approaches the choreography with his usual purity of movement which makes his descent over the course of the ballet all the more tragic – some Rudolfs appear damaged and vulnerable from the start, but Vogel makes him almost dislikable and certainly the violence and casual humiliation of his bride Stephanie on their wedding night were uncomfortable to watch – this prince is not only used but relishes pushing his women around. He is a hugely strong partner, easily possessing the stamina to execute all seven major duets, yet still showing with care the way his character dances and acts differently with each of five women. Vogel charts Rudolf’s decay and disintegration with alarming verisimilitude, his drug taking produces blanks stares and zombie-like movement, his syphilis-induced blinding head-pain is sudden as it is shocking. Vogel will, no doubt, deepen his interpretation further, but it was, on first night, already the real deal, a performance to cherish.”
Common ground of sports cars and dancers: both are athletes
“In my eyes, dance and sports cars have a lot in common. The body of an athlete, for example, has to be fine-tuned very precisely like an engine and the chassis.” You can also see that in Vogel. His training has resulted in a perfect body. But it is not just for show. Each muscle serves art, expression and emotion. At Porsche, they call it “form follows function”. With strong discipline and hard work, Friedemann creates the basis for making his performance on stage completely effortless.
Excerpt from “Inspired by Porsche: Fascinating Movement”.
Friedemann Vogel will make his highly anticipated debut as Crown Prince Rudolf in Mayerling - most famous for its highly demanding male lead role, who hardly leaves the stage during this three-act ballet, dancing seven pas de deux with five female partners in the last phase of his turbulent life. Friedemann will perform for the opening night of Stuttgart Ballet’s premiere of this masterpiece about the heir to the Austro-Hungarian Empire set in the late 19th Century by Kenneth MacMillan on 18th May.
A “Swan Lake” in Stockholm, a ballet festival in Tokyo, a gala with the prima ballerina Olga Smirnova in Moscow, a premiere in a new Dior costume in Rome and soon “Giselle” with Polina Semionova in Zürich: a look at Friedemann Vogel’s schedule on his website is enough to recognise that he is a global player in his art form.
Friedemann Vogel is the Jonas Kaufmann of the ballet world, someone recently pointed out to explain the status of the superstar amongst the principal dancers in Stuttgart. The dancer, who takes time for an interview between two rehearsals and sacrifices his lunch break for it, doesn’t object to the comparison, even if it implies ballet remaining in opera’s shadow. “The important thing is that another audience can get an idea of what ballet is all about and that this facilities access to ballet”, says Friedemann Vogel.
Advertising for ballet? In Stuttgart, where Friedemann Vogel has now been engaged for twenty seasons and appointed as “Kammertänzer”, it seems hardly necessary. And yet the dancer often slips into the role of ambassador for his beautiful and fleeting art, despite his high workload. The fact that he steps in front of the camera for fashion magazines like “Vogue” or “Harper’s Bazaar” and presents Haute Couture in an unusual way has nothing to do with the fact that he wants to show his well-trained body on another stage.
“If there are requests from fashion magazines, I make a commitment depending on whether an interview will be published with the photos”, says Friedemann Vogel. “Ballet and Fashion are closely linked. And it’s a good thing to present an art form for another audience and to promote ballet.” Furthermore, working with photographers is a lot of fun for him. “These are very talented artists with great visions”, he knows what fashion photographers appreciate about dancers: “Models know how to look good, which always leads to similar poses. But dancers can also convey emotions. I am very interested in capturing feelings through photography.”
Just how well Friedemann Vogel’s ballet promoting mission works is evident in the collaboration with his colleague Roman Novitzky. An image from the “Swan Lake" that shows Friedemann Vogel as a ballet prophet dancing over water became an internet sensation. Now the two of them have a new Stuttgart photo to show: Friedemann Vogel captured in a jump in front of a panorama of the city, for a moment, the principal dancer seems to defy the law of gravity.
It’s hard to believe that someone like him still has dream roles that he has not yet interpreted. High on Friedemann Vogel’s wish list is Crown Prince Rudolf in Kenneth MacMillan’s ballet “Mayerling”. He has received many invitations from other companies to perform this role, but the time was never right. When one came from Moscow last year, he turned it down at the request of the new Stuttgart Ballet artistic director; Tamas Detrich, who wanted Friedemann to make his debut in the role when he brought this full length production to Stuttgart.
Rehearsals are now in full swing , with the premiere on 18th of May. The dancer describes the new role as a great challenge, “both physically and mentally”. “There are many pas de deux and variations; Rudolf is non-stop on stage”, says Friedemann Vogel. He finds the embodiment of the heir to the Austrian-Hungarian throne, who dies with his beloved, devastating, “because it is always only about depression and conflicts. There’s never a moment when he is happy and free to dance”.
The intense personality of Rudolf follows him home in the evening, Friedemann Vogel says. “The difficultly is finding yourself in this character. As a dancer, who can only communicate with the body, one must not pretend, but must actually embody a role. With Rudolf, it really gets under my skin”, notes Friedemann Vogel, who comprehends it this way: “Rudolf is someone who was abused as a child. He is military trained and educated to continue the monarchy. He is an artistically inclined. His despair, his madness is a response to an education that is not at all compatible for his character”, says Vogel, suggesting this where this ballet could be topical. It’s difficult material. “But the Stuttgart audience, which readily engages with issues, is certainly ready for such a piece”, says Friedemann Vogel. And as he speaks, you feel a deep connection. “This is my home and a part of me”, adds the Stuttgart native. “I am incredibly happy here, the Stuttgart Ballet is my base and gives me a stop”. But it is also clear to the superstar that without the experience of many performances as guest artist, he would have never made it to the top. “I wouldn’t have been able to achieve it, if I only stayed in one place”, he said.
Does the dancer, who celebrates his 40th birthday this year, think about the end of his active career? “Through injury, it can happen any time”, Vogel responded thoughtfully. But actually he feels in better shape than at the beginning of his career. “As a young dancer, you need time, until you have found yourself and the knowledge about your body”. Passing on his experiences to the next generation could be a field of work for the future.
The world of fashion and costumes, which he explored in collaboration with his partner Thomas Lempertz, is not a perspective for him personally. “This was a trip, but nothing that would fulfil me”, Friedemann Vogel realised. “Only dance gives me fulfilment”, he says, “I want to be faithful to it. It’s been with me since I can remember, and it will always be a part of me”. How, this will certainly reveal itself for someone like him.
Translation courtesy of Carla Böhm
After performing Il Pipistrello and Manon as guest artist of the Rome Opera Ballet, Friedemann Vogel returns to Rome for another performance with the Rome Opera Ballet, this time in the world premiere Nuit Blanche, choreographed by the French choreographer Sébastien Bertaud for a Philip Glass Evening on 29 March. This new commission will reunite Friedemann with the Rome Opera Ballet artistic director Eleonora Abbagnato, and feature the ballet stars in costumes designed by Maria Grazia Chiuri of Dior.
Critically acclaimed around the world as one of the world’s most outstanding dancers, ballet star Friedemann Vogel continues on his journey of collaborations with fashion brands and magazines in the latest edition of Encens magazine, featuring innovative styling by the magazine editor Samuel Drira, photography by Francesco Brigada and video by Etienne Larragueta. Fashion brands worn by Friedemann for the shoot include Hed Mayner, Ralph Lauren, Kenzo, Emporio Armani, Uma Wang, Comme des garcons and Issey Miyake.
Fusing a groundbreaking virtual reality experience with a thrilling murder mystery, FROGMAN by critically-acclaimed UK company curious directive takes you to the cutting edge of live storytelling today. We are excited to announce that the Singapore International Festival of Arts will be presenting Frogman from 21 to 26 May. https://www.sifa.sg/programmes/multi-disciplinary/frogman
Friedemann Vogel’s next performance will be in the Stuttgart Ballet premiere of Jiří Kylián’s One of a Kind on 22nd February, timed to celebrate the 50th anniversary of the choreographer’s arrival in Stuttgart. This will be the third production of Kylián’s which Friedemann is dancing, having previously performed Bella Figura and Forgotten Land.
For the special duets evening of the highly anticipated Sanremo Music Festival on 8 February, Friedemann Vogel generated much buzz in the Italian press with his pas de deux with Eleonora Abbagnato choreographed by Giorgio Mancini, for the performance of “Aspetto che torni” by festival favourite Francesco Renga and Bungaro.
“Friedemann Vogel is the only German ballet dancer of international standing.
Ballet fans as well as fashion photographers love him for his charisma and his defined body. Who’s the man behind the poster boy?”
English translation available now, courtesy of Carla Böhm
The inaugural edition of URBAN ART SINGAPORE comes to Paris this February. From 1 to 17 Feb, come discover Singapore’s urban cultural scene, including street art, music, dance, architecture, design and films. Open daily from 11h to 20h at the Showroom République Valmy. Admission is free!
Urban Art Singapore is organised by Urban Art Fair, and supported by the Singapore Embassy in France, the Ministry of Culture, Community and Youth, the National Arts Council of Singapore, and Singapore Tourism Board.
See http://urbanartfair.com/urban-art-singapore/ for more info!