Jose Manuel,
First of all, let me ask you, other than her being a "divinity" what is so great about her? I',m not trying to be rude and insult you (although you havent exactly been very polite) but here is what I see:
1. stiff limbs. This is most unusual for a Kirov dancer. Even though she's very thin, her legs seem very "heavy" -- theyre slow, they dont seem to fly easily. Every step seems deliberate and carefully placed.
2. lack of flexibility. Again, for a Kirov dancer, this is most unusual. I'm not saying this is bad, but just something I note.
3. A kind of inorganic disconnect when she dances. For instance, in the White pas de deux of the Swan Lake sometimes I feel as if she's flapping her arms while rather stiffly arabesqueing. Ive seen this with Paloma Herrera too. With the best ballerinas I always feel as if it's not just their feet or their hands or their face dancing -- everything is in sync. With Mezentseva I just don't see that, sorry.
4. Slowness and lack of power. Again, this is not bad, but just another thing that I observe.
5. A rather cold, forbidding, expressionless face. Lack of beauty is fine -- Natalia Makarova was nothing to look at either. But Mezentseva's face never seems to change -- her Odette has a big frown from her very first entrance. To me, what is a Swan Lake is Odette doesnt also show a sign of joy or rapture, that makes her fate that much more poignant? When Siegfried dances with her, he has to see not only what she is but what she was and what she could be.
I mean basically this is just what I see. And I love Lezhnina, Zakharova, other Vaganova-trained dancers. I even thought Natalia Bessmertova was enchanting in Giselle.