September 23, 2022 – Seattle, WA – “It gives me great pleasure to be able to promote three dancers in our company this evening.” Prior to the curtain going up for on opening night of Pacific Northwest Ballet’s 50th Anniversary season, PNB Artistic […]
Guess who’s turning fifty? Not me, that happened already. It’s PNB. In 1972, a small but committed group of extraordinary individuals envisioned a great classical ballet company based here in Seattle. Several years of blood, sweat, tears, and […]
Pacific Northwest Ballet Artistic Director Peter Boal has announced the line-up for PNB’s 50th Anniversary Season, running from September 2022 through June 2023. Highlights include six world premieres, a major PNB premiere from Crystal Pite, and story ballets Giselle and A Midsummer Night’s Dream, as well as works by George Balanchine, Edwaard Liang, Penny Saunders, and PNB Founding Artistic Director Kent Stowell.
This October, the scenic design world, Harvard students, and ballet, theater, and opera audiences everywhere lost an exceptional artist; Ming Cho Lee. While Mr. Lee’s work was renowned around the world, Seattle audiences had the opportunity to delight in his masterpieces through his longtime collaboration with Founding Artistic Director Kent Stowell. We asked […]
Lindsi Dec and PNB Company dancers in Carmina Burana © Angela Sterling.
You never forget the opening moment of Kent Stowell’s Carmina Burana. Even wildly enthusiastic applause can’t drown out the 70 voices of the Pacific Lutheran University Choral Union or the first crashing notes played with authority […]
PNB Company dancers in Carmina Burana © Angela Sterling.
“O Fortuna” is one of the most dramatic, and memorable, pieces of music in the modern classical canon. Based on a 13th century Medieval Latin Goliardic poem, and set to music in 1935 by composer Carl […]
Pacific Northwest Ballet's Founding Artistic Director Kent Stowell was instrumental in creating the PNB Orchestra; he recently sat down to share memories of the PNB Orchestra and his Carmina Burana.
George Balanchine rarely spoke about his ballets or the process of making them. Didn't the ballets speak for themselves and, besides, aren't the critics always offering their analysis of what the artist was thinking? He made an exception for Apollo, though, calling Stravinsky's score "a turning point in my life. It seemed to tell me that I could dare not to use everything—that I, too, could eliminate."