As for M. Soares, the author of these lines has seen him in "Beauty" on a few occasions, and would tend to agree that elegance is not, perhaps, foremost amongst his qualities.
Unaware as I am of any of the "private life" factors referred to here, all I can say in the case of Laura Morera is that she is a a demi-caractère dancer, and in most of Europe, we seem to be believe that this rules out her being a ballerina of the first rank.
Fanny Fiat and Diana Cuni are two other, notable European examples of demi-caractère dancers who do not enjoy principal status, essentially for that reason.
What we expect from a dancer, has changed. There is less emphasis on true dance quality, and far MORE emphasis on physical beauty and tricks.
Not an especially healthy state of affairs, for an art form.
Look at the audition sheets published in "Dance Europe" - many troupes will no longer consider any female dancer under five foot five, or a man under six foot. No point in even applying, no matter how damn good you are.
The problem is that 85 % of classical dance technique, the true "danse d'école", is allegro and grand allegro, and is most fully-mastered by persons UNDER the above-cited height. Because one needs to be relatively small, fast, brilliant and STRONG - as opposed to lax - to get through the combinations IN TIME TO THE MUSIC.
Bournonville and Ashton is fast and difficult work, unsuited to the tall.
The tall dancer will always be seen at his best in adagio, for sheer physical reasons - whereas adagio work makes up only about 15 percent of stage time.
I have not invented the wheel in saying this - Bruce Marks, for example, has said more or less the same .
But the art world is currently dominated by Balanchine aesthetic, where the ballet is something for the EYE.
Laura Morera is small, powerful, has tremendous ballon, elevation and batterie, and therefore less "eye appeal" than the Suzanne Farrells of this world.
Contemporary choreographers are, as a rule, quite unfamiliar with the cornucopia that is the classical vocabulary, and so they are unlikely to be attracted to create on someone like Morera - who can actually dance, and might, in fact, be able to tell them a thing or two about choreography.
It would be helpful to people like Morera, if the general public would make an effort to focus on the DANCING, and leave the "eye candy" to the cover on a box of sweets.