Following graduation, she danced as a soloist with La Joven Guardia, the second company of Cuban National Ballet, under the direction of Laura Alonso who continued to cast her in leading roles with the ensemble.
In 2003, following a succession of rave reviews and major role debuts - including from The New York Times' Jennifer Dunning for her performance as Kitri alongside Angel Corrella in Don Quixote - Reyes was promoted to principal dancer.
[8][9] During her time at ABT, her regular partner was Herman Cornejo,[10][11] though she also danced alongside Julio Bocca, Jose Manuel Carreno, Vladimir Malakhov, Ivan Vasiliev, and Gennadi Saveliev.
While with the company, Reyes was noted for dancing an exceptionally diverse repertoire which included a leading role in Allegro Brillante, Nikiya and a Shade in La Bayadère, the first and fourth movements in Bruch Violin Concerto No.
Of her performances alongside Herman Cornejo with ABT in London, Mark Monahan wrote for The Daily Telegraph, "Accompanied by the bewitching Xiomara Reyes – spring-loaded ballon, gossamer hands – he unleashes a fearsome barrage of grand technical brilliance, as controlled as it is exuberant.
"[17] Clement Crisp, writing for The Financial Times commented, "I much admired the way Xiomara Reyes and Herman Cornejo dealt with the ensuing Tchaikovsky pas de deux by Balanchine, which was to take no prisoners.
"[18] Oksana Khadarina, writing for Dance Tabs noted, "Watching the performance of Xiomara Reyes in the main role, I kept thinking that ABT is about to bid farewell to the finest Cowgirl in the company’s history.
In one phrase — a pair of quick jumps and a rapid run on point — all other Cinderellas are jubilant and rapturous, yet Ms. Reyes delivered it frowningly, as if protesting her current situation, a most effective contrast to the sweeter memories that followed.