1. Bolshoi Confidential New York: Liveright; Toronto: Random House; London: HarperCollins, in press.

2. Lina and Serge: The Love and Wars of Lina Prokofiev (London: Random House, 2013; paperback edition, 2014/Boston: Houghton Mifflin Harcourt, 2013).
- Reviews:
BBC Radio 4 Book of the WeekThe Daily Beast [“Hot Reads”], 18 March 2013; Kirkus Starred ReviewThe New Yorker [“Briefly Noted”], 6 May 2013, 75; Publishers Weekly’s Top 10: Music; John Carey in The Sunday Times, 10 March 2013; Orlando Figes in The New York Review of Books, 6 March 2014; Amanda Foreman in The New Statesman, 21 March 2013; Paul Griffiths in Times Literary Supplement, 29 November 2013; Stuart Kelly in The Scotsman, 16 March 2013; Norman Lebrecht in The Wall Street Journal, 15 March 2013; Alexandra Popoff in The Boston Globe, 23 March 2013; Lettie Ransley in The Observer, 11 May 2013; Stephen Walsh in The Guardian, 29 March 2013.

3. The People’s Artist: Prokofiev’s Soviet Years (New York: Oxford University Press, 2009; paperback edition, 2010).
- Related Blog Postings:
Prokofiev’s Juliet’s Lives: Zora Šemberová
Rostropovich’s Recollections
- Reviews:
Bradley Bambarger in Listen [“Back in the USSR”], May/June 2009, 75; Diego Fischerman in El Pais [“El hombre que regresó al frío”], 10 July 2009; Pauline Fairclough in Music & Letters 90:4 (November 2009): 719-22; Sheila Fitzpatrick in London Review of Books [“Many Promises”], 14 May 2009; David Gutman in Gramophone, February 2009, p. 103; Michael Kimmelman in The New York Review of Books [“Bad Bargains for Russian Music”], 13 August 2009; Arlo McKinnon in Opera News 76:6 (December 2011); Neil Minturn in Slavic Review 69:1 (Spring 2010): 239; Stephen Press in Russian Review 71:1 (January 2012): 132-33; R. J. Stove in National Observer, Autumn 2009; Andrew Thomson in The Musical Times [“Mind over matter”], Summer 2009, pp. 110-14; Elizabeth Wilson in bookforum [“A Composer’s Notes”], June/July/Aug 2009.

4. Russian Opera and the Symbolist Movement (Berkeley and Los Angeles: The University of California Press, 2002).
- Reviews:
Philip Borg-Wheeler in Classical Music, 24 May 2003, p. 25; Philip Ross Bullock in Slavic Review 64:2 (Summer 2005): 476-77; Ellon Carpenter in The Russian Review 62:3 (July 2003): 457-58; Pauline Fairclough in Slavonica 9:2 (2003): 137-38; Marina Frolova-Walker in Journal of the American Musicological Society 59:2 (Summer 2006): 507-13; Helen Galbraith in The Modern Language Review 99:3 (July 2004): 849-51; Anatole Leikin in Journal of Musicological Research 22:4 (November 2003): 409-13; Gerard McBurney inTimes Literary Supplement [“At the sign of the Queen of Spades”], 27 June 2003, p. 24; Anna Nisnevich in Cambridge Opera Journal [“Keys to the mysteries”] 15:2 (July 2003): 199-206; Karin Pendle in Choice: 40:8 (April 2003); Elizabeth Yellen in Slavic and East European Journal 48:1 (Spring 2004): 142-43.



1. [with Klára Móricz] Funeral Games: Essays on Arthur Vincent Lourié (New York: Oxford University Press, 2014).

2. Sergey Prokofiev and His World (Princeton: Princeton University Press, 2008; includes my translation of 98 letters between Prokofiev and Levon Atovmyan).

3. [with Caryl Emerson] Boris Godunov issue of Three Oranges: the Journal of the Serge Prokofiev Association 14 (November 2007).

4. [with Stephanie Jordan] Sound Moves, select essays from the international conference on music and dance, Opera Quarterly 22:1 (Winter 2006). The conference was held from November 5-6, 2005, at the Center for Dance Research, Roehampton University of Surrey, London, UK.

5. Kiselev, Vadim, A Bouquet for Tamara Karsavina [Buket dlya Tamary Karsavinoi] (Moscow: Kompozitor, 1998).



1. Landed: Cole Porter’s Ballet.” A Cole Porter Companion, ed. Don M. Randel, Matthew Shaftel, and Susan Forscher Weiss (submitted).

2. “Debussy’s Toy Stories.” Journal of Musicology 30:3 (2013): 424-59.

3. “Koussevitzky’s Ghostwriter” and “Epilogue: The Silver Age and Tinseltown.” Funeral Games: Essays on Arthur Vincent Lourié, ed. Klára Móricz and Simon Morrison (New York: Oxford University Press, 2014).

4. [with Nelly Kravetz] “The Cantata for the Twentieth Anniversary of October, or How the Specter of Communism Haunted Prokofiev.” Journal of Musicology 23:2 (2006): 227-262.

5. “Russia’s Lament.” Word, Music, History: A Festschrift for Caryl Emerson [Stanford Slavic Studies Volumes 29-30], ed. Lazar Fleishman, Gabriella Safran, Michael Wachtel (Stanford, 2005), 657-81.

6. “Shostakovich as Industrial Saboteur: Observations on The Bolt.” Shostakovich and His World, ed. Laurel Fay (Princeton: Princeton University Press, 2004), 117-61.

7. “The Origins of Daphnis et Chloé (1912).” 19th-Century Music 28:1 (Summer 2004): 50-76.

8.  [with Lesley-Anne Sayers] “Prokofiev’s Le Pas d’Acier (1925): How the Steel was Tempered.” Soviet Music and Society under Lenin and Stalin: The Baton and Sickle, ed. Neil Edmunds (London: Routledge, 2004), 81-104.

9. “The Semiotics of Symmetry, or Rimsky-Korsakov’s Operatic History Lesson.” Cambridge Opera Journal 13:3 (November 2001): 261-93.

10. “‘Ognennyi angel’: tret’ya versiya.” Muzykal’naya akademiya 2 (2000): 221-28.

11. “Skryabin and the Impossible.” Journal of the American Musicological Society 51:2 (Summer 1998): 283-330; reprint, Journal of the Scriabin Society of America 7:1 (Winter 2002-03): 29-66.

12. “Sergei Prokofiev’s Semyon Kotko as a Representative Example of Socialist Realism.” 
Musik als Text: Bericht über den Internationalen Musikwissenschaftlichen Kongreßder Gesellschaft für Musikforschung, ed. Hermann Danuser and Tobias Plebuch, 2 vols., Kassel: Bärenreiter, 1998, 2: 494-97.


Shorter Writings:

1. The Spirit Ascends: Scriabin and the ‘Mystic’ Chord.” Times Literary Supplement, 20 November 2015, 14–15.

2. “Waist-deep: In the mire of Russian and Western debates about Tchaikovsky,” Times Literary Supplement, 1 May 2015, pp. 14-15.

3. “Emperor Putin’s War on Truth,” International New York Times, Op-Ed, 2 October 2014.

4. “The Bolshoi’s Spinning Dance of Power,” International New York Times, Op-Ed, 26 November 2013, p. 8.

5. “Galina Vishnevskaya,” The Threepenny Review 135 (Fall 2013): 3-4.

6. “More Tales from the Bolshoi,” London Review of Books 35:13 (4 July 2013): 21-22; “Yet More Tales from the Bolshoi,” LRBblog, 10 July 2013.

7. “Prokofiev’s Kazakh Songs, Lost and Found,” Three Oranges: the Journal of the Serge Prokofiev Foundation 23 (May 2012): 16-17.

8. “The Bolshoi Reopened,” The Threepenny Review 129 (Spring 2012): 22.

9. “The Bolshoi’s Latest Act,” NYRblog [The New York Review of Books blog], 12 November 2011.

10. “Live Music,” The Threepenny Review 127 (Fall 2011): 8-9.

11. “Lina’s Childhood,” Three Oranges: the Journal of the Serge Prokofiev Foundation (November 2010): 3-14.

12. “Romeo and Juliet’s Happy Ending,” Three Oranges: the Journal of the Serge Prokofiev Foundation (May 2009): 3-9.

13. “Khronika sozdaniya baleta/A Chronicle,” program booklet article for Sergei Prokofiev: Cinderella (Moscow: The State Academic Bol’shoy Theater of Russia, 2006), 54-58; reprint, Bolshoi Ballet: 50th Anniversary Season (London: Victor Hochhauser, 2006), 32-33.

14. “Zavodskoy balet Shostakovicha/Shostakovich’s Factory Ballet,” program booklet article for Dmitriy Shostakovich: Bolt (Moscow: The State Academic Bol’shoy Theater of Russia, 2005), 24-31.

15. Tonya (1942): Reflections on an Unreleased Film and an Unpublished Score,” Three Oranges: the Journal of the Serge Prokofiev Foundation 9 (May 2005): 12-17.

16. “The ‘World of Art’ and Music,” in Mir Iskusstva: Russia’s Age of Elegance. Omaha. Minneapolis. Princeton. 4 June 2005 – 11 June 2006 (St. Petersburg: Palace Editions, 2005), 37-43.

17. “In an Invisible City, a Mansion of Musical History,” New York Times, Arts & Leisure Section, 13 July 2003.

18. “At White Nights, Music from Dark Days,” New York Times, Arts & Leisure Section, 7 July 2002.

19. “Prokofiev and Bryusov,” Three Oranges: the Journal of the Serge Prokofiev Foundation 3 (May 2002): 13-15.

20. Liner Notes for Brian Asawa: Vocalise, Academy of St. Martin in the Fields, Neville Marriner, Red Seal Compact Disc 09026-68903-2.


Essay Reviews:

1. Shostakovich Studies 2, edited by Pauline Fairclough, and Contemplating Shostakovich: Life, Music and Film, edited by Alexander Ivashkin and Andrew Kirkman, Music & Letters 91:1 (February 2014): 121-25.

2. Diaries 1924-33: Prodigal Son, by Sergey Prokofiev, translated by Anthony Phillips, London Review of Books 35:6 (21 March 2013): 23-25.

3. Russian Music and Nationalism: From Glinka to Stalin, by Marina Frolova-Walker, Journal of the American Musicological Society 65:1 (Spring 2012): 266-72.

4. Rostropovich: The Musical Life of the Great Cellist, Teacher, and Legend, by Elizabeth Wilson, Music & Letters 91:1 (2010): 83-90.

5. On Russian Music, by Richard Taruskin, Slavic Review 68:2 (Summer 2009): 398-401.

6. Sergey Prokof’yev: Dnevnik 1907-1933, edited by Svyatoslav Prokof’yev, Journal of the American Musicological Society 58:1 (Spring 2005): 233-43; reprint, Three Oranges: the Journal of the Serge Prokofiev Association 10 (November 2005): 30-35.

7. Defining Russia Musically, by Richard Taruskin, Journal of the American Musicological Society 53:2 (Summer 2000): 412-25.

8. Shostakovich: A Life, by Laurel Fay, Journal of the American Musicological Society 53:2 (Summer 2000): 426-36; reprint, The Shostakovich Casebook, edited by Malcolm Brown (Bloomington: Indiana University Press, 2004), 346-59.

9. Wagner in Russia, by Rosamund Bartlett, Cambridge Opera Journal 8:1 (March 1996): 83-92.



1. Tchaikovsky’s “Pathétique” and Russian Culture, by Marina Rizarev, Slavic and East European Journal (forthcoming).

2. Swans of the Kremlin, by Christina Ezrahi, The Russian Review 72:3 (July 2013): 500-01.

3. Stravinsky’s Ballets, by Charles M. Joseph, Slavic Review 72:1 (Spring 2013): 192-93.

4. The Most Musical Nation: Jews and Culture in the Late Russian Empire, by James Loeffler, Musica Judaica Online Reviews [].

5. Harmony and Discord: Music and the Transformation of Russian Cultural Life, by Lynn M. Sargeant, Slavic Review 70:4 (Winter 2011): 945-46.

6. Musical Cultures in Seventeenth-Century Russia, by Claudia R. Jensen, The American Historical Review 116:5 (December 2011): 1598-99.

7. Die Opern Sergej Prokofyews, by Sigrid Neef, Music & Letters 92:1 (2011): 151-53.

8. Anton Rubinstein: A Life in Music, by Philip S. Taylor, Slavic and East European Journal 53:2 (Summer 2009): 317-18.

9. Polish Music since Szymanowski, by Adrian Thomas, Canadian American Slavic Studies 41:2 (2007): 250-51.

10. Prokofiev’s Ballets for Diaghilev, by Stephen D. Press, Slavic Review 65:4 (Winter 2006): 858-59.

11. Rethinking Dance History: A Reader, edited by Alexandra Carter, Research in Dance Education 7:1 (2006): 113-16.

12. Sleeping Beauty: A Legend in Progress, by Tim Scholl, Slavic and East European Journal 49:1 (Spring 2005): 150-52.

13. Music Dances: Balanchine Choreographs Stravinsky, educational video distributed by the George Balanchine Foundation, Echo: A Music-Centered Journal 5:2 (Fall 2003): Online.

14. Prokofiev: From Russia to the West 1891-1935, by David Nice, Slavic and East European Journal 47:3 (Fall 2003): 520-21; reprint, Three Oranges: the Journal of the Serge Prokofiev Association 6 (November 2003): 27.

15. Moving Music: Dialogues with Music in Twentieth-Century Ballet, by Stephanie Jordan, Research in Dance Education 3:2 (2002): 197-200.

16. Nikolai Rimsky-Korsakov: the Complete Sacred Choral Works, edited by Vladimir Morosan, MLA Notes, 58:4 (June 2002): 939-42.

17. Intersections and Transpositions: Russian Music, Literature, and Society, edited and introduced by Andrew Wachtel, MLA Notes 56:1 (September 1999): 120-22.

18. Selected Letters of Sergei Prokofiev, edited and translated by Harlow Robinson, MLA Notes 55:3 (March 1999): 670-72.


Encyclopedia Entries/Bibliographies:

1. Oxford Bibliographies Online - Sergey Prokofiev (29 June 2011).

2. Oxford Bibliographies Online - Pyotr Tchaikovsky (30 June 2014).



1. Derevyannaya kniga/Wood Book (St. Petersburg: Vita Nova, 2009).


Academic Papers

1. Balletic Falsehood,” Keynote Address for the Symposium “Prokofiev and the Russian Tradition,” Louisiana State University, Baton Rouge, LA, 26 February 2016.

2. “About that Chord,” Keynote Address for the Symposium “(Re) Hearing Scriabin in the 21st Century,” Cornell University, Ithaca, NY, 22 October 2015.

3. “Naked Music, Naked Dance,” Association for Slavic, East European, and Eurasian Studies Annual Meeting, New Orleans, LA, 17 November 2012.

4. “Ghosts: On Shostakovich,” University of Chicago, Chicago, IL, 11 February 2011; University of Illinois at Urbana-Champaign, Urbana, IL, 21 February 2011.

5. “F. 1929, Op. 4,” Symposium on Soviet Music in 1948, Cambridge University, Cambridge, UK, 28 November 2009.

6. “Koussevitzky’s Ghostwriter,” Symposium on Arthur Lourie and Silver-Age Russia, Amherst College, Amherst, MA, 31 October 2009.

7. “The Ballets Suédois, the Ballets Russes, and Historiography,” Symposium on Diaghilev’s Ballets Russes, Columbia University, New York, NY, 24 April 2009.

8. “The Missing History of Soviet Music,” CUNY Graduate Center, New York, NY, 27 February 2009; The Peabody Institute, Baltimore, MD, 9 December 2009; Rutgers University, New Brunswick, NJ, 8 March 2010; Brandeis University, Waltham, MA, 22 April 2010; Harvard University, Cambridge, MA, 29 April 2010; University of Hong Kong, Hong Kong, 23 January 2013; Central Conservatory of Music, Beijing, China, 27 November 2013.

9. “Romeo and Juliet’s Happy Ending,” Symposium on Russian Ballet, Barnard College, New York, NY, 13 October 2007; Center for Dance Research, Roehampton University of Surrey, London, UK, 8 May 2008; Prokofiev Study Day, Goldsmiths College, London, UK, 10 May 2008; Tel Aviv University, Tel Aviv, Israel, 20 December 2010; Hebrew University of Jerusalem, Israel, 21 December 2010; Cornell University, Ithaca, NY, 15 March 2011.

10. “Playing Safe,” Symposium on Soviet culture, University of Southern California, Los Angeles, CA, 19 May 2007.

11. “Shostakovich, Bureaucratic Muddle, and Ideological Music,” Eastman School of Music, Rochester, NY, 16 September, and Cambridge University [Robin Orr Lecture], Cambridge, UK, 25 October 2006.

12. “Prokofiev’s Stalinist Works, De-Stalinized,” Conference in honor of Robert Maguire, Columbia University, New York, NY, 18 March 2006.

13. “The Unknown Prokofiev,” Yale University, New Haven, CT, 17 November 2005; Princeton University [President’s Lecture], Princeton, NJ, 21 November 2006; Macalester College, St. Paul, MN, 20 April 2007.

14. [with Lesley-Anne Sayers] “The Influence of Early Soviet Approaches to Theatre on Prokofiev’s Approach to Le Pas d’Acier (1925),” Center for Dance Research, Roehampton University of Surrey, London, UK, 6 November 2005.

15. Respondent to the panel “Russian Modernism,” American Musicological Society Annual Meeting, Washington, DC, 29 October 2005.

16. “Prokofiev’s Soviet Ballet,” Peter Gram Swing Annual Lecture, Swarthmore College, Swarthmore, PA, 31 March 2005.

17. “The Unperformed Boris Godunov,” American Association for the Advancement of Slavic Studies Annual Meeting, Boston, MA, 6 December 2004.

18. “Prokofiev’s Emigration,” Princeton University, Princeton, NJ, 28 April 2004, Indiana University, Bloomington, IN, 16 October 2004, and University of Toronto, Toronto, ON, 3 February 2005.

19. “Tonya (1942): Reflections on an Unreleased Film and an Unpublished Score,” University of Pennsylvania, Philadelphia, PA, 5 March 2004.

20. “Ravel’s Missing Ballet,” Center for Dance Research, Roehampton University of Surrey, London, UK, 6 February and The Peabody Institute, Baltimore, MD, 18 March 2003; truncated version read at the American Musicological Society Annual Meeting, Houston, TX, 14 November 2003.

21. Three colloquia on ballet (“Kto sozdal ‘Petrushku’?,” “‘Stal’noi skok’: konstruktsiya, dekonstruktsiya, rekonstruktsiya,” and “Politika ‘Svadebki’”), Institute Pro Arte, St. Petersburg, Russia, 25 February, 27 February, and 1 March 2002.

22. Participant on the panel “Post-Soviet Research into Russian Liturgical Music: Methodological and Logistical Challenges,” American Musicological Society Annual Meeting,Atlanta, GA, 15 November 2001.

23. “Chaikovsky and Pastiche: Notes on Pikovaya dama,” University of California at Davis, 27 April, University of California at Berkeley, 28 April, Stanford University, Palo Alto, CA, 1 May, and University of North Carolina at Chapel Hill, 27 October 2000.

24. Respondent to the panel “Sound Histories: Audio Technology and the Social Uses of Sound and Music,” National Communication Association Convention, New York, NY, 21 November 1998.

25. “Petrushka’s End,” Princeton University, Princeton, NJ, 2 April 1998; truncated version read at the American Musicological Society Annual Meeting, Boston, MA, 1 November 1998.

26. “Rimsky-Korsakov and Religious Syncretism,” American Association for the Advancement of Slavic Studies Annual Meeting, Seattle, WA, 21 November 1997.

27. “Skryabin and the Impossible,” University of Chicago, Chicago, IL, 5 December 1996, Cambridge University, Cambridge, UK, 13 January, and Harvard University, Cambridge, MA, 24 April 1997.

28. “Mimesis and The Fiery Angel,” American Musicological Society Annual Meeting, Baltimore, MD, 9 November, and American Association of Teachers of Slavic and East European Languages Annual Meeting, Washington, DC, 28 December 1996.

29. “Russkaya simvolistskaya opera: kontseptsiya i vyrazhenie,” Russian State Institute for Art Research, Moscow, Russia, 14 June 1995.


Peer Review

Reader reports provided for manuscripts and articles submitted to Boydell & Brewer Ltd., Fairleigh Dickinson University Press, Indiana University Press, W. W. Norton & Sons, Oxford University Press, University of California Press, University of Rochester Press, Yale University Press, Acta Musicologica, American Music, Cambridge Opera Journal, Journal of the American Musicological Association, Journal of Musicology, Music & Letters, Musical Quarterly, Russian Review, and Slavic Review.