[2] Warren danced with the Metropolitan Opera Ballet for two years, 1957–59, during which time he took the opportunity to expand his training with leading teachers in New York City.

In Nault's productions, Warren danced leading roles in Carmina Burana, Casse-Noisette (The Nutcracker), Hip and Straight, Pas Rompu (Not Broken), and the hugely successful Tommy, set to the rock opera by The Who.

In works by other contemporary choreographers, Warren was cast in leading roles in Catulli Carmina and Villon by John Butler, L'Oiseau de Feu (The Firebird) by Maurice Béjart, Icare by Lucas Hoving, Aureole by Paul Taylor, and Les Noces by Lar Lubovitch.

In the ballets of Brian Macdonald, Warren starred in Diabelli Variations, Double Quartet, Romeo and Juliet, and Tam Ti Delam, set to a Québécois folk song by Gilles Vigneault.

[7] Reviewing the performance, CBC Radio's Kati Vita wrote: "Vincent Warren blazes through the work like a slender crimson flame and compels such attention [that] one is oblivious to all else when he is on stage.

"[8] Warren's curiosity about all forms of kinetic artistry led him to the postmodern experimentation at Judson Dance Theater in New York City, where he appeared in performances with James Waring and Aileen Passloff from 1959 to 1964.

[11] Some twenty years later, during the 1987 Festival de Nouvelle Danse, Warren appeared in Paul-André Fortier's Chaleurs and showed that his command of modern dance technique had not faded.

[12] In 2016, Warren agreed to be a part of a project by Sophie Corriveau and Katya Montaignac, produced by Danse-Cité and copresented by Agora de la danse, Nous (ne) sommes (pas) tous des danseurs.

[13] Focusing on specific themes, this 'danced round table' brought together some twenty dancers from different generations to share their experiences and reflections through reading and movement, highlighting the foundations and workings of the dance profession, as well as the myths that accompany it.

In London, he won high critical praise for his performance in John Butler's Catulli Carmina, set to Carl Orff's scenic cantata of the lyrical texts of the Latin poet Catullus.

[17] In Gehenne set to music by Alvin Etler and named for a biblical place of extreme suffering, Warren was able to express his deep grief at the death of New York City poet Frank O'Hara, the "love of his life," who died after a vehicle accident on a Fire Island beach in the summer of 1966.

He conducted his classes in the formal manner traditional in all ballet schools, but his cheerful disposition and good humor in giving technical corrections to his students lent much to his effectiveness as a teacher.

When the instructor of dance history at the school departed, Chiriaeff asked Warren to replace him, despite the fact that he had no formal education in the field.

His lecture "Abhinaya in Ballet," on the Indian concept of the art of expression, won the prize for best presentation at the Natya Kala Conference held annually at Madras.

Warren continued to teach dance history at the École Supérieure de Ballet du Québec (so renamed in 2010) until shortly before his death.

While he continued to teach classes at the École Supérieure, Warren volunteered to run the school's small dance library, thus beginning his fourth career.

In recognition of his accomplishments, Warren received a Queen Elizabeth II Silver Jubilee Medal in 1977, the Dance in Canada Service Award in 1984, and the Prix Denise-Pelletier in 1992.

[24] In 2012, he was among the recipients of the Queen Elizabeth II Diamond Jubilee Medal, created to honour significant achievements and contributions to national culture by Canadian citizens.