As roma suggested earlier on in the discussion, it's not that Plisetskaya couldn't do fouettees -- just that she could do other things so much better.
Actually, I remember reading in Plisetskaya's autobiography "I, Maya Plisetskaya" that she always had a lot of trouble with fouettes, especially in Swan Lake, and that's why she replaced them with the circle of pique turns. She was an incredible Odile though, no one better in that role IMO.
There's a 1973 video with Valery Kavtun in which she does the pique turns just as leonid describes them. In the coda, onlyi a minute or so later. A good thing bears repeating, I guess.
There are emotional differences between the arc of piques and the fixedness of fouettes. Plisetskaya's Odile does piques (every 4th a double) that take over the entire stage. It's a mini-lesson in territoriality.
This, by the way, is one of the few Soviet-era videos in which -- thanks to the large and spare studio set, with minimal decoration and a minimum of (very effective) cross-cutting -- you can actually see the dancing.
It's a fascinating performance which loses nothing because she dumps the fouettes, IMO.
As for another famous Swan Queen -- in the Vienna video of the Fonteyn/Nureyev performance (early 60s), Fonteyn does about 25 simple fouettes or so before a very quick cut to Nureyev who does even more (the male version) twice as fast. It's a particularly blatant piece of upstaging, and one that shows Nureyev in a rather ungentlemanly light.