Friedemann Vogel triumphs as Crown Prince Rudolf in Kenneth MacMillan’s "Mayerling"
Friedemann Vogel as Crown Prince Rudolf in “Mayerling” with Elisa Badenes as his beloved mistress Mary Vetsera
The “Mount Everest” of male lead roles in ballet
“Blessed with pure line and exquisite extensions, his technique is impeccable and he never compromises even when engaging in challenging character depiction. His transformation from the arrogant aristocrat to a mental and physical wreck was absolutely sensational.” Dance Europe on Friedemann Vogel’s phenomenal interpretation of Crown Prince Rudolf in the Stuttgart Ballet’s production of Kenneth MacMillan’s “Mayerling”, a role which has been described as the “Mount Everest” of male lead roles in ballet, and which has won the danseur noble unanimous critical acclaim.
Friedemann Vogel as Crown Prince Rudolf in “Mayerling” with Miriam Kacerova as Empress Sisi
Friedemann Vogel as Crown Prince Rudolf in Kenneth MacMillan’s “Mayerling”
“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 to 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.” The Classical Source on Stuttgart Ballet’s “Mayerling” by Kenneth MacMillan
