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! I too have often wondered why Maya has been sidelined. And now it's 12 years since her graduation. I for one am ecstatic that she was included on this tour! I wish I were there! Bravos to both Zhenya Obratzova and Maya Dumchenko 
! As far as I can remember, Maya last set foot on American soil during the July 1999 Met engagement. I also recall that she was flawless as Fairy Coulante in the 1890 "Beauty," featured at that time. The fact that we're trying to figure out when she was last showcased here or anywhere outside St. P. is incredible in itself. I truly wish she had been one of the featured Auroras during the Fall 2005 U.S. tour when they brought the Sergeyev "Beauty." That tour needed her Aurora :mellow:. One thing truly puzzles me. You recalled that Dumchenko was considered, "practically the 'equal' " of Vishneva? Practically? IMHO Dumchenko is more than Vishneva's equal; she's superior, particulary in the academic technique department. That's a debate for another thread.
This may be politically incorrect, but I'm going to say it. The fact that Maya still labors in the soloist rank, while younger rhythm-less gymnasts are promoted at the Maryinsky, is mindboggling to me. The fact that the illustrious panel, whose names you listed, were floored by Maya speaks volumes, and amplifies this discrepancy. Not that competition medals or prizes are the be-all or end-all of a successful career; it certainly helps puts one on the radar-screen. But I think that Dumchenko's career chronicle could have, should have been very different than the hand she's been dealt. For better or worse the evaluation panel, past and present is the box office; cash is king. And it's this altar at which the Vazievs worship. And if that means fielding expressionless youngsters that favor 6 o'clock extensions over true St. Petersburg classicism and artistry, so be it.
IMO this 'policy' is probably one of, if not, the primary reason why certain "name" dancers with elastic-girl capabilities, have been promoted over dancers like Maya - and dancers such as Tarasova and Zhelonkina, (both of whom are still soloists). Even Pavlenko, (who is employed as little as possible - even as the youngest female Principal Dancer), has to wait for long intervals, in some cases years to revisit a role. An example of this, would be her most recent St. Petersburg "Giselle" in September 2006: Only her second performance of this role at home on the Maryinsky stage on Sept. 22, and her sixth in her 11 year career). Six performances in 11 years; two at home - the first being her debut in 2001, and the second - 5 years later. That's inexplicable.
There are a few others of like gifts and temperament, who like the above, are fighting like generals without an army just for one opportunity to take center stage at home and on prestigious tours. Opportunities that rarely come, if ever. Apparently, in the Maryinsky Ballet of 2007 if one doesn't have the support of Management, while certain trendy "aesthetic" values are promoted over traditional values, your career will be stifled. The $1 Billion Question is what is now considered traditional in the Maryinsky - and what does this mean for it's future? That's a topic for another thread too.
