- 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), The Sleeping Beauty (Prince Desiré), 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; and Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II (Solor). He created roles in Tomasson’s Trio; Caniparoli’s Tears; Liang’s The Infinite Ocean and Symphonic Dances; Lopez Ochoa’s Guernica; Possokhov’s “Adagio” from Carmen, Swimmer, 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 Divertimento No. 15, Serenade, Pas de Deux from Stars and Stripes, Symphony in C, and Theme and Variations; Bubeníček’s Gentle Memories; Caniparoli’s Ibsen’s House and No Other; Lifar’s Suite en Blanc; MacMillan’s Winter Dreams; Millepied’s The Chairman Dances—Quartet for Two; Nureyev’s Raymonda—Act III; Petipa’s Le Corsaire Pas de Deux; Possokhov’s Classical Symphony, RAkU, and The Rite of Spring; Ratmansky’s Russian Seasons, Seven Sonatas, and Shostakovich Trilogy; Robbins’ Dances at a Gathering; Scarlett’s Fearful Symmetries and Hummingbird; Thatcher’s Otherness; Tomasson’s 7 for Eight, Concerto Grosso, The Fifth Season, Haffner Symphony, On a Theme of Paganini, and Prism; and Wheeldon’s Within the Golden Hour. He danced a featured corps role in King’s The Collective Agreement.
Vitor 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.