My point is, a ballerina should not be denied the ballet solely due to "short limbs" as you say which is also up for debate in the case of Obraztsova, Cojocaru and others. Perhaps short as compared to the Polina Senionovas of the world. I would agree to that if that is what you mean. What I want to see in Swan Lake is whether the ballerina can tell a story or at least give a great take on even just one of the dual roles.
Have you seen the full Grigrovich Swan Lake? In this version, Odette is a puppet or a vision made by the Evil Genius and she leads the Prince to his death. It is very different from the Bourmeister version of Swan Lake performed at Stanislavsky which is much more theatrical. Dramatic ballerinas are suited for the Bourmeister version but the Grigrovich one does not require much of that quality. Also the Sergeiev version at the Mariinsky is not so dramatic.
What I require for Odette / Odile is that they should be ethereal as Odette, with Swan-like port de bras and long limbs like wings. Cojocaru was not renowned as Odette / Odile either, I heard from my British friends that she wasn't so good in that role. Swan Lake is simply not a dramatic ballet IMHO. I would see something MacMillan if I want to see drama.
I have seen Maria Alexandrova dance Odette/ Odile at Bolshoi live, and although she is not thin, she is quite tall and I agree much with volcanohunter's opinion, a very powerful and seducing Odile. The Grigorovich's Odile variation needs very strong technique and almost evil charisma, which Alexandrova posesses. (I do think her Odette is weaker than her Odile, although she does look very much like a bird with her athletic and eloquent arms)
But as Jayne pointed out, maybe Royal Ballet might give her opportunity.