I forget what all our comments were, but, for me, four out of five Swan Lakes that I saw were extremely successful artistically, two featuring Svetlana Zakharova and two 'revelations of greatness!' by Olga Smirnova.
Very gracious for you to note that and to recall that critical response to the Bolshoi was not monolithic among ballet goers, but perhaps it's as well that Urin, as leader of the the theater, appears not to be letting himself be complacent, especially if we hope to see more varied repertory from the Bolshoi in New York during future tours. (And, perhaps, too, if the cause of new repertory at the Bolshoi is to flourish more generally...??)
Critics and many fans (on this sight anyway) were extremely critical of Grigorovich's production of Swan Lake and, to a lesser extent, brought up the issue of whether any of the productions showed to best advantage at the Koch theater--an issue raised by Urin. And there was certainly no consensus on Zakharova in Swan Lake -- who was, additionally, slammed for that performance by the Times (which is the most prominent coverage any visiting-New-York ballet company gets). Spartacus received mixed to poor critical reception in the press and from many fans on this site as well: honestly, I myself was surprised at how poor since the criticisms seemed to me to make little in the way of concessions to the role of the ballet in the company's history and "culture" even when acknowledging that role. But whatever we may feel--a lot of different opinions get reflected on this site, thank goodness--Urin surely cares more about the NY Times and the press in general than fans on Ballet Alert or other sites.
I think that almost everyone--professional or amateur--who voiced an opinion on the repertory choices for this tour (I was one) expressed dismay at a choice of works that in no way reflected developments at the Bolshoi in ... oh...the last 12-13 years. And that's giving credit to the Swan Lake and Don Quixote for having some 'recent' revisions: but in fact, they really should hardly be given credit for being as recent as that.
Were these ballets easy to sell? Sure, and Lincoln Center Festival does need to sell tickets, but I'm not sure in what universe the Bolshoi was going to be a hard sell whatever the repertory--or, at least, almost whatever the repertory. Maybe all Mats Ek would have been a problem. (The Lincoln Center festival sold out performances of the arguably far less famous--among non-ballet fans--Mariinsky in far more off-the-beaten-track repertory at the far larger Metropolitan Opera House.) I really do blame Lincoln Center for the choices (which they have not denied having requested) and perhaps the Bolshoi staff, too, a bit for not pushing back harder against them. At the risk of simply channelling the NY TImes--look at what has been brought to London and Paris and even Washington D.C. in recent years. The Bolshoi still might have gotten criticisms and even strong criticisms with some of that repertory, but the whole tour would have carried additional excitement for critics/fans--that is, artistic excitement.
(Like Buddy, I consider that I got to see some excellent dancing by the Bolshoi, for which I'm grateful. Including Smirnova and Chudin in Swan Lake. But I don't think that counts much for what concerns Urin...)