The Cuban Patricio Revé is already part of the Royal Ballet from London as principal dancer for the 2026-2027 season, an appointment that consolidates him internationally after a year marked by collaborations with renowned dance figures.
The British company announced the decision this Tuesday, after Revé’s successful appearances as a guest artist since May 2025, when he debuted in the role of Romeo alongside Natalia Osipova in Romeo and Juliet.
Later he participated in special performances and galas of the company, which further strengthened his artistic link with the Royal Ballet, according to the institution itself and a review. Latin Press.
Director of The Royal Ballet, Kevin O’Hare, today announces that Patricio Revé will join the Company as a Principal dancer from the start of the 2026/27 Season. pic.twitter.com/5QZfVv8Jyj
— Graham Watts (@GWDanceWriter) January 13, 2026
The director of the Royal Ballet, Kevin O’Hare, highlighted that the dancer left “a very positive impression” with his style and stage presence during his guest performances. Revé, for his part, described the appointment as “a dream come true” and thanked the support received within one of the most influential companies in contemporary classical ballet.
Born in Havana in 1997, Carlos Patricio Revé trained at the Cuban Ballet School and was a member of the National Ballet of Cubawhere he performed works from the classical repertoire associated with the legacy of Alicia Alonso.
He later spent a key period of seven years at the Queensland Ballet in Australia, where he established himself as one of its leading figures. A subsequent attempt to join the San Francisco Ballet was unsuccessful due to logistical difficulties related to the US visa.
2025: the turning point in his career
The year 2025 marked a turning point in Revé’s career. After closing a stage in Australia, he assumed a period of professional transition as a guest dancer in several international companies.
In London he began to work closely with Natalia Osipova, with whom he danced Romeo and Juliet and participated in tours and galas, expanding his technical and expressive register.
Another decisive moment came in Buenos Aires, when he starred Don Quixote at the Teatro Colón with the Argentine dancer Marianela Núñez, an emblematic figure of the Royal Ballet.
These performances, held in the context of the centenary of the Argentine coliseum, had a wide international impact and reinforced Revé’s profile as a partner of great performers.
In statements offered in December to OnCubathe dancer summarized this period as “a stage of professional transition”, marked by the need to get closer to the main centers of world dance. He acknowledged that his work as a guest at the Royal Ballet allowed him to verify that his training and style fit the demands of the British repertoire.
Regarding his dreams and desires, Revé said that everything has happened very quickly. “I was used to a calm and orderly routine in Australia, and now a huge range of possibilities has opened up to me. I’m still finding the steps to follow. Being here rehearsing at the Royal Ballet, with Osipova, is another level.”
The artist also highlighted the influence of his teachers and mentors, in particular Ismel Labrada, to whom he attributes a decisive turning point in his training, as well as the support received from figures such as Mary and Li Cunxin during his Australian period.
On an artistic level, he highlighted the value of chemistry with his partners and the importance of discipline and adaptation as essential qualities. “Ballet is the summary of my life. It has been my salvation in the worst moments, my best moments, my friendships; it has been everything.”
