Kaash - meaning “if” in Hindi – was Akram Khan’s first full-length work, and Stuttgart Ballet’s premiere of Kaash will present several firsts for Friedemann. As always, Friedemann embraces the opportunity to acquire a different movement vocabulary, particularly the notable interplay between speed and stillness in the classical North Indian dance. As a ballet dancer, he is also excited to interpret this seminal piece by the eminent British choreographer, who broke new ground informing contemporary dance with kathak. Friedemann will perform Kaash for the opening night of the triple-bill Breath-Taking on 28th June, with more performances to follow.
Crown Prince Rudolf in Mayerling is considered one of the most technically and emotionally demanding roles for male dancers; it is also a character that Friedemann aspired to perform for a long time. He is eagerly anticipating his debut in this challenging role of the tormented prince – heir to the Austro-Habsburg Empire in the late 19thCentury - at the Stuttgart Ballet premiere of the complex Kenneth MacMillan ballet on 18th May, with more performances to follow.
Friedemann will be reprising the dramatic role of Onegin, this time with Alicia Amatriain as Tatjana, to celebrate the 50th anniversary of John Cranko's Onegin at Stuttgart Ballet, where it all began. Friedemann can't wait to perform this Cranko classic in its entirety again on 27th October. More performances in November.
Friedemann is looking forward to opening the new Stuttgart Ballet season with Brouillards, part of the Pure Cranko gala to commemorate the 90th birthday of John Cranko this year, with three performances on 3rd, 6th and 7th October. Created in 1970 for the Stuttgart Ballet , Brouillards – meaning “Mist” in French – comprises a series of episodes, and derived its inspiration from the piano preludes of Debussy written from 1910 to 1913.
Friedemann Vogel will be going to Kazakhstan for the first time, to dance in the Almaty Gala des Étoiles on 15th & 16th September. He is looking forward to partnering fellow Prix Maïa winner Diana Vishneva again, to perform two very different duets: Vertigo by Mauro Bigonzetti and a pas de deux from John Cranko’s Onegin.