AUGUST 23, 2020

The Calling
Music: Anonymous, French, late 12th-early 13th century
"O Maria, stella maris"
Choreography: Jessica Lang
Staging: Jessica Lang and Kanji Segawa
Costume Design: Elena Comendador
Costume Concept: Jessica Lang
Lighting Design: Al Crawford

Mezzo-soprano  Sarra Sharif Doyle

James Moore

Premiere: October 15, 2006 (as part of Splendid Isolation II); Ailey II (Baltimore, Maryland)
Pacific Northwest Ballet Premiere: June 7, 2015

The 2015 Pacific Northwest Ballet premiere of Jessica Lang’s The Calling was generously underwritten by Aya Stark Hamilton.

Singers: Sarra Sharif Doyle with Orrin Doyle, Margaret Obenza, Markdavin Obenza, and Christina Siemens.

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The Concert (or, The Perils of Everybody)
Mistake Waltz

Music: Frédéric Chopin, orchestrated by Clare Grundman
Prelude, Op. 28, No. 16, 1831?–1839; Waltz in E Minor [Posth], c. 1830)
Choreography: Jerome Robbins
Staging: Judith Fugate
Costume Design: Irene Sharaff
Lighting Design: Jennifer Tipton, recreated by Randall G. Chiarelli

Pacific Northwest Ballet Orchestra
Conductor  Emil de Cou
Pianist  Cameron Grant

Lindsi Dec     Angelica Generosa     Cecilia Iliesiu
Elle Macy     Sarah Pasch     Emma Love Suddarth
Guillaume Basso     Henry Cotton     Dammiel Cruz
Christopher D’Ariano     Christian Poppe     Dylan Wald

Premiere: March 6, 1956; New York City Ballet
Pacific Northwest Ballet premiere: September 15, 2007
Archival film recording of dress rehearsal: September 20, 2018

The 2007 Seattle premiere of The Concert (or, The Perils of Everybody) was generously underwritten by Ernest & Diane Burgess and Glenn Kawasaki.

Choreographed in 1956, The Concert is a comic spoof of a classical music concert. The setting is an all-Chopin recital where the attendees allow their decidedly imaginative minds to wander. When the resulting images are danced, human foibles and insecurities are revealed as Robbins brings each fantasy comically and vividly to life. A genuine crowd-pleaser, The Concert illustrates Robbins’ remarkable insight into the delightful imperfections of human relationships and, in the midst of the laughter, enlightens us all.

* * * * *

Music: Ludwig van Beethoven
Piano Sonata No. 23 in F minor, Op. 57, “Appassionata”, c. 1804–1806, II. Andante con moto
Choreography: Benjamin Millepied
Staging: Sebastien Marcovici and Janie Taylor
Scenic and Lighting Design: Lucy Carter
Costume Design: Alessandro Sartori
Lighting Supervision: Emma Jones

Pianist  Allan Dameron

Elizabeth Murphy     Karel Cruz

Premiere: February 5, 2016; Paris Opera Ballet (originally titled La nuit s’achève)
Pacific Northwest Ballet Premiere: September 23, 2016 (renamed Appassionata)
Archival film recording of dress rehearsal: May 31, 2018

The 2016 Pacific Northwest Ballet premiere of Benjamin Millepied’s Appassionata was generously underwritten by Jeffrey & Susan Brotman.

Benjamin Millepied’s Appassionata was choreographed for Paris Opera Ballet and premiered in February 2016 with the title La nuit s’achève (“The night ends”). For Pacific Northwest Ballet’s staging, Millepied renamed the ballet in reference to Beethoven’s iconic, late-classical piano sonata to which the dance for three couples is set.

Sonata No. 23 in F minor is one of three celebrated sonatas from Beethoven’s middle period. The music is some of his most technically challenging and the mood is tempestuous; the sonata was composed just after he came to terms with his inevitable hearing loss in 1803. The title “Appassionata” (meaning “passionate” in Italian) was not given to the work during Beethoven’s lifetime, but rather was a label added by the publisher of a four-hand arrangement in 1838.

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II –– Be Still

Music: Nadia Boulanger
Trois Pièces for cello and piano, 1914, No. 1. Modéré
Choreography: Eva Stone
Staging: Peter Boal
Costume Design: Melanie Burgess
Lighting Design: Amiya Brown

Cello  Page Smith
    Piano  Christina Siemens

Amanda Morgan     Cecilia Iliesiu     Juliet Prine

Premiere: November 8, 2019; Pacific Northwest Ballet

The 2019 world premiere of Eva Stone’s F O I L was commissioned by the Virginia B. Toulmin Foundation and was principally supported by Deidra Wager with additional support from an anonymous donor.

“And so she built the house with a steady hand, room by room, until the walls held tight every secret of the Universe, and the neighbours, their hands pressed to the glass, watchful of the radiance within.” ‒ Anonymous

* * * * *

Music: Oliver Davis
Bacchus, 2019
Choreography: Matthew Neenan
Costume Design: Mark Zappone
Lighting Design: Randall G. Chiarelli

Conductor Doug Fullington
Pacific Northwest Ballet Orchestra

Leta Biasucci     Christopher D’Ariano     Kyle Davis     Angelica Generosa    
James Moore     Leah Merchant     Margaret Mullin     Elizabeth Murphy    
Seth Orza     Lucien Postlewaite     Sarah-Gabrielle Ryan
Price Suddarth     Dylan Wald

Leta Biasucci     Lucien Postlewaite
and cast

James Moore
Dylan Wald
Christopher D’Ariano     Kyle Davis     Price Suddarth

Margaret Mullin     Elizabeth Murphy

Kyle Davis     Price Suddarth
Angelica Generosa     Sarah Gabrielle Ryan

Leah Merchant     Christopher D’Ariano     Dylan Wald
Leta Biasucci     Lucien Postlewaite
James Moore     Margaret Mullin

Entire cast

Elizabeth Murphy     Seth Orza

Premiere: March 15, 2019; Pacific Northwest Ballet
Archival film recording of dress rehearsal: March 14, 2019

The 2019 world premiere of Matthew Neenan's Bacchus is supported by Richard & Lisa Altig, Lyndall Boal, and David & Cheryl Hadley.

Inspired by the lush and flamboyant music of Oliver Davis, Matthew Neenan’s Bacchus embodies the nature of the Roman god of wine, merriment, and abundance.

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Bracelet solo

Music: Gabriel Fauré
Pelléas et Melisande, 1898, II. La fileuse
Choreography: George Balanchine © The George Balanchine Trust
Staging: Elyse Borne
Scenic and Lighting Design: Lucy Carter
Scenic and Costume Design: Jérôme Kaplan
Lighting Design: Randall G. Chiarelli

Violin  Michael Jinsoo Lim
Piano   Christina Siemens

Leta Biasucci

Premiere: April 13, 1967; New York City Ballet
PNB Premiere: June 1, 2006; new production September 22, 2017

Pacific Northwest Ballet’s production of George Balanchine’s Jewels was made possible by Patty Edwards.

Presenting support for the 2017 Pacific Northwest Ballet production of George Balanchine’s Emeralds was provided by Dan & Pam Baty, with additional support from Lynne E. Graybeal & Scott Harron.

The works of George Balanchine performed by Pacific Northwest Ballet are made possible in part by The Louise Nadeau Endowed Fund.

Emeralds, the opening ballet of George Balanchine’s three-part Jewels, is a romantic evocation of France. It is also Balanchine’s comment on the French school of dancing and its rich heritage. France is the birthplace of classical ballet and French is its language. With a score by Gabriel Fauré and dancers dressed in Romantic-length tutus, Emeralds can also be a window on the nostalgia inherent in much late-19th-century art, with its idealized view of the Middle Ages, chivalry, and courtly love. Balanchine considered Emeralds “an evocation of France – the France of elegance, comfort, dress, and perfume.”

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Don Quixote
Pas de deux, variations, and coda

Music: Ludwig Minkus
from Don Quixote, 1869
Choreography: Marius Petipa and Alexander Gorsky
with additional choreography and staging by Alexei Ratmansky
Staging: Sandrine Leroy, Judy Maelor-Thomas, Sonja Marchiolli
Scenic and Costume Design: Jérôme Kaplan
Lighting Design: James Ingalls

Conductor  Emil de Cou
Pacific Northwest Ballet Orchestra

Kaori Nakamura     Lucien Postlewaite


Batkhurel Bold     Lindsi Dec     Sarah Ricard Orza     Laura Tisserand

Entire Cast

Tom Skerritt                   Allen Galli
Guest Artist                     Guest Artist

Original Production Premiere: December 14, 1869; Imperial Ballet, Moscow, choreography by Marius Petipa; revived November 9, 1871, Imperial Ballet, St. Petersburg
Gorsky Production Premiere: December 6, 1900, Imperial Ballet, Moscow choreography by Alexander Gorsky (after Marius Petipa); restaged January 20, 1902, Imperial Ballet, St. Petersburg
Ratmansky Production Premiere: February 13, 2010; Dutch National Ballet (Amsterdam)
Pacific Northwest Ballet Premiere: February 3, 2012
Archival film recording of dress rehearsal: January 29, 2015

Principal support for the 2012 U.S. premiere of Alexei Ratmansky’s Don Quixote was provided by Glenn Kawasaki and Dan & Pam Baty.

The Ingenious Hidalgo Don Quixote de La Mancha), the magnum opus of the Spanish writer Miguel de Cervantes Saavedra, was the source of inspiration for Marius Petipa, whose version of Don Quixote, to music specially composed by Ludwig Minkus, was created for the Bolshoi Ballet in Moscow in 1869. This version is the one that serves as the basis for all of today’s productions of the ballet. Alexei Ratmansky’s production for the Dutch National Ballet preserves the best of Don Quixote as it has come down to us over the decades. The grand pas de deux of the final act, embellished here with additional solos, is a perennial favorite—a show-stopping bravura display for its dancers.

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Sylvia Pas de Deux
Music: Léo Delibes
from Sylvia, 1875‒1876
Choreography: Kyle Davis
Lighting Design: Reed Nakayama

Conductor  Emil de Cou
Flute  Evan Pengra Sult
     Violin  Michael Jinsoo Lim
Piano  Christina Siemens

Sarah-Gabrielle Ryan     Kyle Davis

Premiere: June 16, 2012; Pacific Northwest Ballet (Next Step)

The 2012 premiere of Kyle Davis’ Sylvia Pas de Deux was generously underwritten by Aya Stark Hamilton and Glenn Kawasaki.

* * * * *

Music: Peter Ilyich Tchaikovsky
Symphony No. 3 in D major, Op. 29, 1875, V. Finale
Choreography: George Balanchine © The George Balanchine Trust
Staging: Elyse Borne
Costume Design: Jérôme Kaplan
Lighting Design: Randall G. Chiarelli

Conductor  Emil de Cou
Pacific Northwest Ballet Orchestra

Lesley Rausch     Karel Cruz

Leta Biasucci     Angelica Generosa     Leah Merchant     Emma Love Suddarth
Kyle Davis    Joshua Grant     Steven Loch     Ezra Thomson

Nancy Casciano     Cecilia Iliesiu     Elle Macy     Angeli Mamon    
Amanda Morgan     Sarah Pasch     Nicole Rizzitano     Calista Ruat    
Sarah-Gabrielle Ryan     Carli Samuelson     Madison Taylor    Leah Terada

Guillaume Basso     Ryan Cardea     Henry Cotton     Dammiel Cruz    
Christopher D’Ariano     Luther DeMyer     Alonso Olvera-Gonzalez     Miles Pertl
    Christian Poppe     William Sheriff
     Price Suddarth     Dylan Wald

Premiere: April 13, 1967; New York City Ballet
Pacific Northwest Ballet Premiere: June 1, 2006; new production, September 22, 2017
Archival film recording of dress rehearsal: September 21, 2017

Pacific Northwest Ballet’s 2017 production of George Balanchine’s Diamonds was made possible by Patty Edwards.

The works of George Balanchine performed by Pacific Northwest Ballet are made possible in part by The Louise Nadeau Endowed Fund.

Diamonds, the third and final ballet of George Balanchine’s Jewels, is the choreographer’s homage to his native St. Petersburg, Russia. The ballet pays tribute to Balanchine’s youth: the grandeur of St. Petersburg, the Maryinsky Theater, and the Imperial Ballet, where Balanchine trained. Following an opening waltz, intimate pas de deux, and thrilling scherzo, the ballet concludes with a glittering polonaise, featuring the entire cast.

* * * * *


The Dancers and Stage Managers of Pacific Northwest Ballet are members of AGMA—the American Guild of Musical Artists, AFL-CIO.

†Pacific Northwest Ballet School Professional Division students perform courtesy of AGMA.

Pacific Northwest Ballet Orchestra is represented by the PNB Orchestra Players Union.

Stage Crew is represented by I.A.T.S.E., Local #15.

Wardrobe Attendants are represented by Theatrical Wardrobe Union #887, I.A.T.S.E.

“Mistake Waltz” from The Concert performed by permission of the Robbins Rights Trust.

The Concert costumes courtesy of San Francisco Ballet.

These performances of excerpts from Emeralds and Diamonds, Balanchine Ballets®, are presented by arrangement with The George Balanchine Trust and have been provided in accordance with the Balanchine Style® and Balanchine Technique® service standards established and provided by The Trust.

Benjamin Millepied is represented by Verlag der Autoren, Frankfurt, Germany.

Bacchus, by Oliver Davis, by arrangement with G. Schirmer, Inc. publisher and copyright owner.

Don Quixote costumes, scenery, and properties courtesy of Dutch National Ballet, Amsterdam, The Netherlands.

*Please note: Programming is subject to change.


Pacific Northwest Ballet, one of the largest and most highly regarded ballet companies in the United States, was founded in 1972. In July 2005, Peter Boal became artistic director, succeeding Kent Stowell and Francia Russell, artistic directors since 1977. The Company of nearly fifty dancers presents more than 100 performances each year of full-length and mixed repertory ballets at Marion Oliver McCaw Hall in Seattle and on tour. The Company has toured to Europe, Australia, Taiwan, Hong Kong, Canada, and throughout the United States, with celebrated appearances at Jacob’s Pillow and in New York City and Washington DC. Click here to learn more. 

Former Pacific Northwest Ballet principal dancer Kaori Nakamura with principal dancer Jerome Tisserand and company dancers in Peter Boal’s staging of Giselle. Photo © Angela Sterling.