Alice Klock

The Cecchetti method was an integral part of my development as a dancer. There is a strength but also a subtlety in the Cecchetti approach to ballet that creates dancers of impressive but unaffected technique. Built into this technique there is also a level of intellectual understanding and work ethic that has been essential to my dancing. Through studying for Cecchetti exams I learned the importance of attention to detail, musicality, precision and dedication. I am extremely grateful for my background in Cecchetti for it has given me not only physical technique but also an intellectual approach to dance that enables me to adapt to various styles and to use ballet as a vehicle for my personal artistry.

I began my dance studies at the age of 11, training in the Cecchetti method with Laura McCarthy and at Randazzo Dance with Marjorie and Anthony Randazzo. In 2003 I enrolled at Interlochen Arts Academy and upon graduation in 2007 I moved to California to study at the Alonzo King's Lines/Dominican BFA program. I have attended summer programs at San Francisco Ballet, The National Ballet School of Canada, Miami City Ballet, Boston Ballet, Alonzo King's Lines Ballet, San Francisco Conservatory of Dance, Springboard Danse Montreal, and Hubbard Street Dance Chicago. I have worked professionally with San Francisco choreographer Gregory Dawson, and performed with Alonzo King's Lines Ballet in their 2008 home fall season. I joined Hubbard Street 's Second Company in September 2009. I thoroughly love dancing with HS2 and am inspired every day by the dancers around me and by the artistic virtuosity and caliber that exists at Hubbard Street.

Patricia Zhou

At age 13, Patricia left Canton and her teachers at “Dancing Feet” to attend the Kirov Academy of Dance in Washington, D.C. She is now a 16 year old junior whose career is about to unfold. Of her time at the KAD, Patricia’s mother, Rose, states, “Patricia has matured a lot both technically and artistically as a dancer in the past two and half years while with the Kirov.” She started in the lowest level and was moved up to the highest level within two years. This year she performed three solos at the Kirov’s winter performance. Marat Daukayev, KAB, director was quoted in Pointe Magazine saying, “She has a natural feeling for movement. It’s a special gift. Some dancers develop it—she was born with it.”

Patricia is planning to compete in the International Ballet Competition in Jackson (the first round is in February, 2010) and at the Youth Grand Prix in March, 2010.

Patricia attributes the development of her strength to her early Cecchetti training. She was presented for her Elementary examination by June Smith, DFCCA. You can search Patricia Zhou on YouTube to see her perform. As quoted in a recent article in Pointe Magazine: “Zhou has a gracious épaulement, expressive limbs and precise execution, along with softness, breath and pliancy. The Eastern Michigan Committee will be watching and supporting this young artist’s ballet career.

Photo by: Paolo Galli (The Kirov Academy of Ballet)

Nicole Blaszczyk, Miss Michigan

Nicole Blaszczyk, student of CCA Executive Board member, Peggy Wright, is the newly crowned Miss Michigan.  Both residents of Novi, Nicole has studied with Peggy since she was a young child and passed Cecchetti exams Grades I-VI.  She was previously Miss Dance of Michigan 2008 and won the National Ballet scholarship at the Dance Masters of America finals in Orlando last summer.  Nicole is currently a student at Wayne State University in Detroit, majoring in Marketing and Business.  The Miss Michigan title honors Nicole with a $10,000 scholarship to continue her education.  She will proudly represent the State of Michigan in the Miss America Scholarship Pageant in Las Vegas January 30, 2010.

Lynn Brennan Tabor and the Cecchetti Method

Being raised in the Cecchetti method was a great springboard for my dive into the world of professional dance. The syllabus is so comprehensive. After the accomplishment of passing all of the student grades I felt that I was in possession of a vast dance vocabulary. That aspect certainly served me well as I was called upon to learn various styles of choreography as a professional dancer.

One of my most salient memories of the Cecchetti syllabus was the demanding adage work. It required such stamina and strength. Practicing those adages for exams instilled a lot of discipline. When I got into a dance company I realized how much I would practice sections of choreography over and over again, and I know this was a direct result of my Cecchetti training.

For me, the "icing on the cake" was the approach used by my Cecchetti teacher, Sylvia Hamer. She was an extremely elegant woman, and all of the steps she showed us were colored by this extraordinary elegance. Throughout my career people often remarked on my discipline and said that I had an elegant bearing. I believe the Cecchetti experience and Mrs. Hamer helped me to achieve the qualities that led to a successful career in ballet.

Visit Lynn's Website: Portland Youth Ballet
http://www.pybdance.com

provided generously by Midwest Committee, Cecchetti Council of America

Elise Ann Vitso

Elise Ann Vitso was born and  in Ypsilanti, Michigan on November 23, 1986. She trained at Randazzo Dance from 1990-2002 under the direction of Marjorie Randazzo and Anthony Randazzo. She attended the Virginia School of the Arts from 2002-2004 under the direction of Petrus Bosman, David Keener, and Martha Faesi. While there, she was able to perform featured roles in Kirk Petersons "Carmen" and the Dark Angel/Elegy Girl in George Balanchines "Serenade." Upon graduating from the Virginia School of the Arts, Ms.Vitso joined Milwaukee Ballet II where she was able to perform with the prestigeous Milwaukee Ballet Company. In 2006, she joined the Ballet Tucson in Tucson, Arizona, where she is currently in her third season as a Company Member.

Before moving to Virginia, she trained extensively in the Cecchetti Method. It made transitioning into other styles of dance much easier because the training focuses on aquiring a strong ballet technique. She would probably not be where she is today without her background in Cecchetti. It is so precise and exact that you learn muscle memory for many things at a very young age that other techniques do not teach. Therefore, she is able to concentrate on her artistry rather than focusing on the technique. She has also been fortunate to not have had very many injuries in her career, which she gives full credit to her Cecchetti training because it teaches you how to correctly use each muscle for each and every step.

Jennifer Goodman, Joffrey Ballet

“I have been complimented on my strength and proper alignment many times throughout my career, and I contribute that to my Cecchetti training.”

I have to say, of the many different styles of training that I have been exposed to, I feel that Cecchetti builds the strongest foundation. The process of passing grades helped me learn the proper vocabulary of ballet positions and steps that are used universally in schools and companies ( it also encouraged me to take French class in school).  Given the opportunity to take exams in front of a judge, at a young age, helped me to overcome that nervous feeling a dancer will encounter many times throughout their career be it at an audition or simply performing.

I feel a little special that I was able to experience the Cecchetti method as I have not met many dancers who have the experience.  Even in my company now (The Joffrey Ballet of Chicago) there are ballets in the repertoire that use the Cecchetti style such as Bournonville – La Vivandiere;  many of the dancers find the choreography very challenging where I feel right at home.  The Cecchetti work is very difficult, I remember coming back to take a class at my old school, and I had a difficult time; I was a little embarrassed.  You can't cheat in Cecchetti.

Jennifer studied with Mary Ann Sherman at the Romeo Civic Dance Center.

Catrina Choate

Catrina Choate, a native of Michigan, began her dance exploration through the Cecchetti Method with her mother, Gail Choate-Pettit and continued to train professionally at the School of American Ballet in New York City.

She danced with Miami City Ballet and Carolina Ballet performing in many Balanchine masterpieces such as Serenade, Concerto Barocco, Agon, The Four Temperaments and Jewels. Ms. Choate also performed with Miami Contemporary Dance Company.

As a graduate fellowship student at the University of Illinois at Urbana-Champaign, she received excellent training in modern dance techniques as well as choreographic guidance. She has a Bachelor of Arts Degree in English Literature from Florida International University; and while in Miami, developed and taught many creative movement classes for children in after school programs and for incarcerated women.

Ms. Choate is a Guild Certified Feldenkrais Practitioner and teaches Awareness Through Movement® lessons. She developed a specific Feldenkrais® class for the dance majors at University of Illinois as well as for the Miami Contemporary Dance Company.

Ms. Choate is currently living in Romania where she is dancing, choreographing and offering Feldenkrais® workshops throughout Europe.

Dawnell Dryja

Dawnell Dryja, a Michigan native, received her classical ballet training from Dawn Greene; she is currently dancing with the Grand Rapids Ballet. She has also danced with the Tulsa Ballet, Cincinnati Ballet, Dayton Ballet and Metropolitan Ballet Theatre of Detroit.

Her roles include: Titania from Midsummer Night's Dream, Swanilda from Coppelia, Fingerprints and numerous Balanchine ballets such as Allegro Brilliante, Four Temperaments and Jewels. Ms. Dryja’s roles with the Grand Rapids Ballet include: Snow Queen, Sugar Plum Fairy, Della in the Gift of the Magi, Tinker Bell in Peter Pan. She is also on the teaching faculty of the Grand Rapids Ballet School and has been guest faculty for the CCA, Toledo Ballet, and numerous workshops and schools.

She holds her Cecchetti Advanced Certificate and is a Professional member of the Cecchetti Council of America.

Denise Gillman

Denise began her training in Michigan with Marjorie Randazzo continuing at the National Ballet of Canada. Ms. Gillman is a frequent guest teacher in the United States and Europe.

She has been on the faculty at the Pittsburgh Ballet Theatre School, Carnegie Mellon University, Louisville Ballet School, International Summer School of the Cecchetti Council of America and the Kate Simmons School, England.

Denise is a Fellow teacher of the CCA and gained distinction for her ISTD Cecchetti Associate.

Anthony Randazzo, Ballet Master

Anthony Randazzo became a Ballet Master at Boston Ballet in 2002 at the invitation of Mikko Nissinen. As Ballet Master, Mr. Randazzo teaches company class, coaches and rehearses the dancers of the company, stages works and assists guests with setting of new or existing works. Anthony is involved in the preparation of all full length productions presented by the company. He is also responsible for rehearsing many of the one act ballets presented by Boston Ballet.

A native of Michigan, Anthony received his early dance training from his mother Marjorie Randazzo. At age 14 he attended the National Ballet School in Toronto. Anthony danced with the National Ballet of Canada and San Francisco Ballet achieving the rank of principal dancer. As a dancer Anthony performed a wide variety of roles representing a broad range of styles.

Randazzo danced the leading role in many full-length productions including Swan Lake, Sleeping Beauty, Romeo and Juliet, and The Merry Widow as well as numerous one act ballets during his 18 year performing career. Mr. Randazzo danced works by many internationally recognized choreographers including Balanchine, Ashton, Forsythe, Morris, Kylian, Taylor, Robbins, Nureyev, Cranko and McMillan.