Ladies, I agree with all of you. Vishneva literally went straight from her graduation performance to Principal Dancer, pole vaulting over the corps de ballet. Her first pro role was Kitri just a few days after her commencement. For many years she too was denied O/O in her home theatre. She therefore outsourced this role first to Berlin with Malakhov, with P. Bart, then the Paris Opera Ballet, and for the last few years, during her annual Spring/Summer engagements with ABT at the Met. In the beginning Vishneva was declared by the management to be a soubrette/virtuosa/allegro hybrid. O/O is 2/3 an adagio, lyrical, legato role. Furthermore, the management at that time determined that her legs and feet were unsightly for the role, and withheld it from her. After a few years of outsourcing her O/O, the Maryinsky management relented, and she made her debut the opening night of the 2005/2006 season, Sept 21, 2005. In what would have been the first hometown opening night of her career, Dasha Pavlenko was cast to dance O/O that night as follow up to her Covent Garden triumph in the role during the 2005 UK summer tour. To date, Pavlenko, a Principal Dancer, has not opened one Maryinsky season in her home theatre in "Swan Lake" or any ballet. IMO Vishneva does best as Odile as it suits her technique, melodrama and artistic temperament more than Odette.
Both Lopatkina and Kondaurova have all the qualities required of great O/Os. They both have the mystery, and they are both mistresses of nuance and legato phrasing. They're both tall - but they also have total control of their limbs; this is key for O/O.
Osmolkina and Obratzova have all the superlatives and possess all the qualities needed to excel in this role. Osmolkina waited a decade for her home debut as O/O this past January. Osmolkina had one follow up at home, after her second and third performances were danced at Covent Garden. She was reportedly outstanding in both performances. Osmolkina maintains a whopping +50 roles in her repertory. This study list contains more leading and supporting roles than all the female PDs and 1st/2nd soloists on roster. What are they waiting for? Retirements and the economic situation could be factors here. IMO, re the former, the wrong ones are "retired," and others who have long since needed to retire continue to linger and loiter. Re the latter point, perhaps the opportune time to promote Osmolkina has either passed or is on hold until the economic situation improves. *(Please see final paragraph. As already noted in these threads, one was considered to have "grown" more than anyone else in the company). Given all these factors, the question becomes, exactly what will it take for Osmolkina to promote?
In Obratzova's case, where Osmolkina outnumbers her roles, she is, 1) the most awarded, and 2) the most internationally critically acclaimed of all the female 1st & 2nd Soloists. Obratzova has also had to outsource her debuts in major roles. Until recent years, the closest Genichka has gotten to Odette is as one of the cygnets, (the second from stage right to be exact). The current climate doesn't bode well for her to get a Maryinsky debut as O/O. Hopefully, she won't have to make her debut as a stranger in the wrong paradise. If she gets the opportunity to outsource the role, by all means she should do it - and as soon as possible. She'd excel in any "Swan Lake" production anywhere in this world.
*Somova's deficiencies and inefficiencies have been thoroughly discussed in this fora, the other dance fora, etc. Yet, the management persists in casting her not only in this role, but as debutante in other ballets. In effect, they're hoping for what could be euphemistically termed "the desired outcome." She was in the corps barely six months before her O/O debut. Within three years of her graduation, she was raced through the ranks. At the beginning of 2008, she was appointed 1st Soloist and 6 months later she was appointed a Principal Dancer, despite ample and consistent evidence of her incompetence. That accelerated timeline puts all of this in perspective, no? This season Giselle, the Tsarevna in "LHH," and "In the Night were added to her study list. Her next debut will be Juliet, August 3 at Covent Garden.