Here's the problem with Obraztsova--she's just a tad too short to be matched with most of male dancers with Principal status at the Mariinsky (Obraztsova with Danila Korsuntsev in Swan Lake? I don't think so!).
Now, if Obraztsova can do Swan Lake she needs to be matched with a shorter male ballet dancer like her husband, Vladimir Skylyarov. Now THAT would work quite well indeed.
Many of the shorter Mariinsky male Principals would do perfectly: Sarafanov, Kolb or (when back to good health) Fadeev. Obraztsova also dances very well with the 'middle height' men like Matvienko (the recent Shurale) and, as you pointed out, Schklyarov. [Schklyarov is not Obraztsova's husband, by the way, but definitely a friend and professional partner. I learned this during my recent visit to St. Petersburg. Some of the early publicity from St. Petersburg Times newspaper and Kultura TV 2-3 years ago reported this erroneously.]
Genichka would be an excellent O/O. If she has to outsource this role the way Diana Vishneva has, then she should definitely look into it. To date Genichka has had to outsource her debuts as Aurora (Kazan), Raymonda (Bangkok), and Kitri (Tokyo). The only full length Aurora she has danced at home this season, was at her mother's alma mater the Mikhailovsky Ballet, not the Maryinsky. Ruzimatov is the Mikhailovksy's Artistic Director.
Vishneva wasn't granted O/O at the Maryinsky for a number of years because in the beginning the management's verdict was that she was a soubrette, and that her legs and feet were deemed unsightly. To her credit, Diana didn't let this deter her from essaying the role elsewhere. I hope that Genichka's success in "Shurale" will prompt the authorities to grant her the opportunity to dance "Swan Lake" on her home stage. Natalia, I agree that the gentlemen you named would all be the perfect foils for her. I would also like to add to your list Sasha Sergeev, (Pavlenko's husband), who made his magnificent debut as Albrecht opposite Genichka's sublime Giselle. I hope that Genichka doesn't have to wait a decade to essay the role on her home stage like Katya Osmolkina. Consider this: Alina Somova was thrust
into O/O, making her debut within six months of her graduation from the Academy. That fact puts this issue of "emploi" and Maryinsky casting policy in the proper perspective, doesn't it?