For the past 22 years, Jonathan Porretta has been employed at Pacific Northwest Ballet, where  he was a principal dancer for 14 years. After retiring from a 20-yearlong performance career in  2019, Jonathan was immediately appointed to principal faculty member at Pacific Northwest  Ballet School (PNBS), where he currently teaches technique, pas de deux and conditioning to all  levels, in addition to teaching current and archived company repertoire to PNBS Professional  Division students. In addition to his role with the school, Jonathan is also a regular teacher for  PNB’s Company Class.   Jonathan Porretta is from Totowa, New Jersey. He trained on full scholarship at the School of  American Ballet. Mr. Porretta joined Pacific Northwest Ballet as an apprentice in 1999. He was  promoted to corps de ballet in 2000, soloist in 2002, and principal in 2005. Jonathan Porretta  retired from Pacific Northwest Ballet in June 2019.   Mr. Porretta has danced leading roles in George Balanchine’s Agon, Coppélia (Franz),  Divertimento from “Le Baiser de la Fée”, The Four Temperaments, A Midsummer Night’s Dream (Oberon, Puck), Prodigal Son, Rubies, Slaughter on Tenth Avenue (Morrisine), Square Dance,  Symphony in C, and Symphony in Three Movements; Peter Boal’s Giselle (Peasant pas de deux);  Todd Bolender’s Souvenirs; Val Caniparoli’s The Bridge, Lambarena and Torque; Alejandro  Cerrudo’s Memory Glow; David Dawson’s A Million Kisses to My Skin; Ulysses Dove’s Red Angels and Serious Pleasures; Nacho Duato’s Rassemblement; Molissa Fenley’s solo State of Darkness;  William Forsythe’s Artifact II, In the Middle, Somewhat Elevated, New Suite, One Flat Thing,  reproduced, and The Vertiginous Thrill of Exactitude; Marco Goecke’s Mopey; Ronald Hynd’s  The Sleeping Beauty (Carabosse, Gold and Silver pas de trois, Bluebird pas de deux); Jiri Kylian’s  Forgotten Land; Jean-Christophe Maillot’s Roméo et Juliette (Mercutio); Peter Martins’ Fearful  Symmetries; Annabelle Lopez Ochoa’s Cylindrical Shadows; Mark Morris’ A Garden and  Kammermusik No. 3; David Parsons’ Caught; Kirk Peterson’s Amazed in Burning Dreams; Marius  Petipa’s Paquita; Crystal Pite’s Emergence; Alexei Ratmansky’s Concerto DSCH, Don Quixote (Sancho Panza), and Pictures at an Exhibition; Jerome Robbins’ Circus Polka, The Concert,  Dances at a Gathering, and Fancy Free; Kent Stowell’s Carmina Burana, Cinderella (Prince,  Jester), Hail to the Conquering Hero, Nutcracker (Prince), Silver Lining, Swan Lake (Jester), and  The Tragedy of Romeo and Juliet (Mercutio); Susan Stroman’s TAKE FIVE…More or Less; Richard  Tanner’s Ancient Airs and Dances; Lynne Taylor-Corbett’s The Ballad of You and Me and  Mercury; Glen Tetley’s The Rite of Spring and Voluntaries; Twyla Tharp’s Afternoon Ball, Brief  Fling, In the Upper Room, Nine Sinatra Songs, and Waterbaby Bagatelles; and Christopher  Wheeldon’s Polyphonia. In 2004, Mr. Stowell choreographed Dual Lish for Mr. Porretta and  Noelani Pantastico. He also originated leading roles in Andrew Bartee’s arms that work, Nicolo  Fonte’s Almost Tango, Kiyon Gaines’ Kiyon Gaines’ Do. Not. Obstruct., “Folly” á deux and Sum  Stravinsky, Goecke’s Place a Chill, Kevin O’Day’s [soundaroun(d)ance], Victor Quijada’s  Suspension of Disbelief, Christopher Stowell’s Quick Time and Zaïs, and Tharp’s Opus 111 and  Waiting at the Station, and a featured role in Dominique Dumais’ Time and other Matter.  Mr. Porretta has also danced with Dances Patrelle in New York and performed as a guest artist  with Central Pennsylvania Youth Ballet, Oregon Ballet Theatre, and San Francisco Opera Ballet.