Born in Brazil, Vitor Luiz studied classical ballet by Brazilian distinguished ballet masters such as Pedro Kraszczuk, Dalal Achcar, Stella de Mello and Victor Navarro. At the age of 16, he was granted a full scholarship at the Royal Ballet School in London, and his professional career began before he was 18 years old in England, with the Birmingham Royal Ballet. In 2001, Vitor joined the Municipal Theater of Rio de Janeiro’s, Brazilians most traditional major classical ballet company, where he became a principal dancer and international guest artist.  Due to his experience in both Europe and the Americas, diverse training and influences, Vitor was fortunate to be exposed to a diverse amount of repertoire and dance styles. That fed his curiosity, which led his interest in San Francisco Ballet, for its well-known reputation on innovation. He joined the San Francisco Ballet Company as a principal dancer in 2009 and enjoyed 10 years with this company.

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.