Portrait of Patricio Revé
DancersPatricio Revé
Guest Artist

Patricio Revé

The Royal Ballet|🇨🇺Cuban
Classical Ballet

Training

  • Fernando Alonso National Ballet School

Repertoire

  • Romeo
  • Giselle
  • Des Grieux
  • Oberon

Promotions

  • 2017Principal
  • 2022Principal Artist

Awards

    Biography

    Patricio Revé is a Cuban ballet artist currently appearing with The Royal Ballet as a Guest Artist, with a formal move into the Company as a Principal dancer announced for the start of the 2026/27 Season. His emergence on London stages has been swift and memorable: he made his Royal Ballet debut in May 2025 as Romeo in Kenneth MacMillan’s Romeo and Juliet alongside Natalia Osipova, and the Royal Ballet and Opera has since highlighted the flair, artistry and natural stage presence that marked those guest appearances.

    Born in Havana, Revé trained at the Fernando Alonso National Ballet School, one of Cuba’s most significant ballet institutions. He joined the Cuban National Ballet in 2015 and rose rapidly, being promoted to Principal in 2017. During that period he built a broad classical foundation while touring internationally, performing on major stages in North America, Europe and Asia and dancing leading roles in works closely associated with Alicia Alonso’s repertory tradition.

    In 2018 he joined Queensland Ballet under the directorship of Li Cunxin, adding another important chapter to his career and extending his profile beyond Cuba. He was promoted to Principal Artist there in 2022. Across his time in Queensland he danced a range of major roles including Romeo, Des Grieux, Oberon in Christopher Wheeldon’s A Midsummer Night’s Dream, the Snow Prince and Sugar Plum Prince in The Nutcracker, and principal parts in Etudes, Theme and Variations and Serenade.

    That combination of classical authority, dramatic clarity and international experience helps explain why Revé has been such a strong fit in guest performances with The Royal Ballet. His repertory spans cornerstone story ballets as well as important twentieth-century and mixed-program works, making him a dancer with both star presence and versatility. For Plie readers, he stands out as an artist in transition: already a compelling presence on the Royal Opera House stage, and now poised to begin his next chapter in the Company on a permanent basis.

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