I....her Sleeping Beauty in Los Angeles to be a remarkably developed performance for a dancer at such a young age... the hyper extensions were thankfully gone, and her dramatic spontenaity was a pleasant surprise.
Maybe we're talking about two different dancers? In Detroit, Somova's hyper-extensions (and crude attack, aggressive/non-elegant airs, lack of musicality, jutting-out chin, insensitivity to male partner, etc., etc.) were all there. If anything, she has become worse, not better, since her 2005 U.S. appearances. Her Aurora and Dryad Queen at the Mariinsky, this past March, were hideous. Luckily, practically nobody else is as poor as she is at the Mariinsky. Yes, others may display hyper-extensions, but they are musically sensitive, elegant, ladylike, etc. Somova's basic problem is not with the extensions but with the 'bullyish' quality of her 'punched' moves, coupled with overall gangliness. To top it off, she comes across as being darn proud of it, smug grin and all!
She is "young," you say? She is professional, plain and simple. She should perform as a professional. Hundreds, even thousands, of "young" ballerinas who have graduated from the top ballet academies on this earth know better than Ms Somova. They know the basics of musicality, carriage, and not wanting to neglect basic artistry for one-upsmanship.
Sorry for my candor but I feel very strongly about this. I'm open to all degrees of flexibility (from Fonteyn to Guillem) in a ballerina but I can't applaud artistic insensitivity.
Somova's 'punches' should serve her well as Myrtha...assuming that she will 'punch' on the beat.