- Juiz de Fora, Brazil
- The Royal Ballet School
- Company Membership
Joined the Company as a principal dancer in 2009
Vitor Luiz has danced major roles in Tomasson’s Giselle (Albrecht), Nutcracker (King of the Snow and Grand Pas de Deux Prince), Romeo & Juliet (Mercutio), and Swan Lake (Prince Siegfried); Tomasson/Possokhov’s Don Quixote (Basilio); Balanchine’s Coppélia (Franz); Cranko’s Onegin (Onegin); Scarlett’s Frankenstein (The Creature); Balanchine’s Prodigal Son (Son); Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II (Solor); and Possokhov’s Swimmer (Swimmer). He created roles in Tomasson’s Trio; Caniparoli’s Tears; Liang’s Symphonic Dances; Possokhov’s “Adagio” from Carmen, Swimmer (Nighthawks pas de deux), and Talk to Her (hable con ella); Wheeldon’s Number Nine; and Zanella’s Underskin.
His repertory includes principal roles in Ashton’s Symphonic Variations; Balanchine’s Brahms-Schoenberg Quartet, Divertimento No. 15, Serenade, Symphony in C, and Theme and Variations; Bubeníček’s Gentle Memories; Caniparoli’s A Cinderella Story (Pas de Deux), Ibsen’s House, and No Other; Lifar’s Suite en Blanc; MacMillan’s Winter Dreams; Nureyev’s Raymonda—Act III; Petipa’s Le Corsaire Pas de Deux; Possokhov’s Classical Symphony, RAkU, and The Rite of Spring; Ratmansky’s From Foreign Lands, Russian Seasons, Seven Sonatas, and Shostakovich Trilogy; Robbins’ Dances at a Gathering; Scarlett’s Fearful Symmetries and Hummingbird; Tomasson’s 7 for Eight, Caprice, Concerto Grosso, Criss-Cross, The Fifth Season, Haffner Symphony, Prism, and Tuning Game (Pas de Deux); and Wheeldon’s Ghosts and Within the Golden Hour.
Vitor has guested with English National Ballet and performed at galas in the U.S. and Dominican Republic. He was nominated for an Isadora Duncan Dance Award for Best Ensemble Performance in Possokhov’s Classical Symphony during the 2010 Repertory Season.
What ballet or role would you like to dance but haven't yet? Why?
Petruchio in Cranko's The Taming of the Shrew requires great comic acting, coupled with strong technique, and is one of the few ballets I have seen where the audience had huge belly laughs throughout the ballet. As an artist, it would be fun and challenging to make the role joyful. Plus it's Shakespeare.
What's the hardest part about being a dancer that no one knows?
Waiting for the next thing to happen.
What can always make you laugh?
My daughter’s laugh.