top of page


Screen Shot 2017-12-05 at 7.31.15 PM.png

Photo by Jesson Mata

Founded by Doug Fullington in 1993, the Tudor Choir is a Seattle-based vocal chamber ensemble that has been hailed as “a superb choir” (Gramophone), as well as “a choir to watch” (Fanfare). The Tudor Choir specializes in Renaissance polyphony and also has been acclaimed for its performances of early American and contemporary music. The choir has performed extensively throughout the Pacific Northwest, including concert appearances in Vancouver, British Columbia, and Portland, Oregon, and has made guest appearances with the Mark Morris Dance Group, Pacific Northwest Ballet, Seattle Baroque Orchestra, Seattle Symphony, and Early Music Guild of Seattle. The choir made its East Coast debut in December 2012, performing at the Kennedy Center in Washington, DC and in Pennsylvania. The Tudor Choir has made numerous recordings for the Loft, Gothic, and Scribe labels and recently has recorded music by Nico Muhly and Seattle-based composer Jeff Junkinsmith.

Doug Fullington is a conductor, singer and dance historian. He founded the Tudor Choir in 1993 and is a specialist in Tudor-era and early American vocal music. As a countertenor, he performed with The Tallis Scholars, the Tudor Choir, and Byrd Ensemble. As a dance historian, his writings on 19th-century ballet and the notation system of Vladimir Stepanov have been published by Oxford University Press and in Ballet Alert!, Ballet Review, Dance View, and Dancing Times. He has contributed dances revived from source material for the Bolshoi Ballet, Bavarian State Ballet, Pacific Northwest Ballet, and Pacific Northwest Ballet School. Doug has taught on the faculty at the University of Washington School of Music, and he has been a frequent presenter and moderator for the Guggenheim Museum’s Works and Process series. Doug currently is Assistant to Peter Boal and Audience Education Manager at Pacific Northwest Ballet in Seattle. He is editing the first critical edition of the ballet Giselle for Barenreiter and writing a book for Oxford University Press about using nineteenth-century ballet source material, both with his colleague Marian Smith.

bottom of page