Ph.D., M.F.A. in Music History, Princeton University, June 1994, November 1997
M.A. in Music History, McGill University, February 1993
Diploma in Russian, Moscow Pedagogical Institute, May 1992
B. Mus cum laude in Music History and Literature, University of Toronto, November 1987


Academic Appointments

Princeton University, Department of Music, 1997–.

Professor, 2008–
Associate Professor, 2005–8
Assistant Professor, 1998–2005
Lecturer, 1997–98

Princeton University, Department of Slavic Languages and Literatures, 2017–.

University of Southern California, Department of Slavic Languages and Literatures, Spring 2019.
Visiting Professor

University of Pennsylvania, Department of Music, Spring 2011.
Visiting Professor

Harvard University, Department of Music, Spring 2010.
Visiting Professor


Award for Excellence in Alumni Education, Princeton University, 2012
Guggenheim Fellowship, 2011
Phi Beta Kappa Society Teaching Award, 2006
Howard Behrman Fellow in the Humanities, Princeton University, 2005-07
Arthur. H. Scribner Bicentennial Preceptorship, Princeton University, 2002-05
American Council of Learned Societies Fellowship, March 2001
Institute of Advanced Studies, Mellon Fellowship for Full-Year Membership, February 2001 (declined)
Alfred Einstein Award, November 1999
American Musicological Society Doctoral Dissertation Fellowship (AMS 50), March 1996
Charlotte Elizabeth Proctor Honorary Fellowship, Princeton University, May 1995
Elsie and Walter W. Naumberg Fellowship, Princeton University, July 1993 and 1994
Princeton University Graduate Fellowship, April 1992
Foreign Language Area Studies Grant, McGill University, December 1991
McGill University Graduate Fellowship, August 1989 and 1990




Shostakovich. In progress, advance contract with Norton

Stevie Nicks. In progress, advance contract with University of California Press

Bolshoi Confidential. New York: Liveright; London: HarperCollins; Toronto: Random House, 2016; French edition: Paris: Editions Belfond; Japanese edition: Tokyo: Hakusui-sha; Portuguese edition: Rio de Janeiro: Editora Record LTDA, 2017; Russian edition: Moscow: Exmo.

Booklist Starred Review; Booklist Editors’ Choice 2016; Kirkus Starred Review; Lucy Ash in The Guardian, 31 October 2016; Bob Blaisdell in The Christian Science Monitor, 10 October 2016; Deborah Bull in The Spectator, 10/17/24 December 2016; Rupert Christiansen in Literary Review, October 2016; Lee Christofis in Australian Book Review, January-February 2017; Debra Craine in The Times of London, 22 October 2016; Sarah Crompton in The Guardian, 10 October 2016; Catriona Kelly in Times Literary Supplement, 20 January 2017; David Jays in The Times of London, 16 October 2016; Daria Khitrova in The New York Times, 13 November 2016; Madison Mainwaring, New Republic, 14 October 2016; Mark Monahan in The Telegraph, 13 November 2016; Douglas Smith in The Wall Street Journal, 15 October 2016.

Lina and Serge: The Love and Wars of Lina Prokofiev (London: Random House, 2013; paperback edition, 2014/Boston: Houghton Mifflin Harcourt, 2013).

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.

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

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.

Russian Opera and the Symbolist Movement (Berkeley and Los Angeles: The University of California Press, 2002).

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.



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

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

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

[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.

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


Articles & Essays:

“What Next? Shostakovich’s Sixth Symphony as Sequel and Prequel,” Twentieth-Century Music 16, no. 2 (June 2019): 1-27.

“Galina Ustvol’skaya v istorii muzïki, vne yeyo i za yeyo predelami.” In NestandArt: Zabïtïye eksperimentï v russkoy kul’ture1934-64 гг., edited by Julia Vaingurt and William Nickell (forthcoming).

“Galina Ustvolskaya Outside, Inside, and Beyond Music History,” Journal of Musicology 36, no. 1 (2019): 96-129.

“What Next? Shostakovich’s Sixth Symphony as Sequel and Prequel” (forthcoming in Twentieth-Century Music).

“Galina Ustvolskaya Outside, Inside, and Beyond Music History” (forthcoming in Journal of Musicology).

The Golden Cockerel, Censored and Uncensored.” In Rimsky-Korsakov and His World, edited by Marina Frolova-Walker (Princeton: Princeton University Press, 2018), 177-95.

“Prokofiev: Reflections on an Anniversary, and a Plea for a New Critical Edition,” Iskusstvo muzïki. Teoriya i istoriya 16 (2017): 6-20.

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

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

“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).

[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.

“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.

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

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

[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.

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

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

“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.

“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:

“Experience Prokofiev’s Romeo and Juliet – Without Dance,” Playbill, 23 January 2018.

“Art in an Artless Age.” Times Literary Supplement, 22 July 2016, 16-17.

“What the Candidates’ Rally Music Says About Them.”, May 26, 2016.

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

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

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

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

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

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.

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

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

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

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

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

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

“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.

“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.

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.

“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.

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

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

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

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


Essay Reviews:

Ot Ayvza do Adamsa: amerikanskaya muzïka XX veka, by Ol’ga Manulkina, American Music 35, no. 1 (Spring 2017): 133-40.

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.

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

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

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

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

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.

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

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.

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



Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera, by Gundula Kreuzer. Times Literary Supplement (forthcoming)

Classics for the Masses: Shaping Soviet Musical Identity Under Lenin and Stalin, by Pauline Fairclough. Transposition. Musique et sciences sociales (forthcoming)

DVD Review: Swan Lake(s). Nineteenth-Century Music Review 15, no. 1 (April 2018): 141-44.

Virtuosi Abroad: Soviet Music and Imperial Competition during the Early Cold War, 1945-58, by Kiril Tomoff. Slavic Review 75, no. 3 (2016): 726-29.

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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


Encyclopedia Entries/Bibliographies:

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

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



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


Academic Papers

“What Next? Shostakovich’s Sixth Symphony as Sequel and Prequel,” Indiana University, 19 January 2018.

Nureyev: The Ballet that Wasn’t (Until it Was),” Plenary Session, Dance Studies Association Conference, Columbus, Ohio, 19 October 2017.

“Ustvolskaya and Reckoning,” “Found in Time” symposium, University of Chicago, 5 October 2017.

“Tchaikovsky’s Finances,” symposium on “The Russian Century,” Yale University, 30 September 2016.

“The Salon (?) of Nadezhda von Mekk,” Association Répertoire International d’Iconographie Musicale Annual Meeting, St. Petersburg, Russia, 7 September 2016.

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

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

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

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

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

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

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

“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.

“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.

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

“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.

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

“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.

[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.

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

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

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

“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.

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

“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.

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.

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.

“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.

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.

“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.

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

“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.

“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.

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


Public Lectures

“Poulenc’s House Party,” National Gallery of Art, Washington, DC, 1 June 2013.

“The Composition, Re-Composition, and Re-Composition … of Prokofiev’s War and Peace, U of T/COC Opera Exchange Series, Toronto, ON, 18 October 2008.

“Prokofiev’s Gambler,” lecture for The Birch Opera Event, Columbia University, New York, NY, 13 March 2008.

Pre-performance lecture on Debussy’s Martyrdom of St. Sebastian, Chaikovsky’s Violin Concerto, Unsuk Chin’s Rocana, and Scriabin’s Poem of Ecstasy, Carnegie Hall, New York, NY, 8 March 2008.

Pre-performance lecture on Sviridov’s Small Triptych, Musorgsky’s Songs and Dances of Death, and Prokofiev’s Alexander Nevsky, Carnegie Hall, New York, NY, 1 November 2007.

“The Denunciation of Lady Macbeth,” U of T/COC Opera Exchange Series, Toronto, ON, 3 February 2007.

“Russian Musical Representations of Hamlet,” Lincoln Center, New York, NY, 5 March 2006.

Pre-performance lecture on Beethoven’s Piano Concerto No. 1 and Shostakovich’s Symphony No. 11, Carnegie Hall, New York, NY, 1 February 2005.

Pre-performance lecture on Musorgsky’s Destruction of Sennacherib, Rachmaninoff’s The Bells, and Shostakovich’s Execution of Stepan Razin, Carnegie Hall, New York, NY, 10 October 2004.

“The Progressive 1920s,” Bard College Music Festival, “Shostakovich and His World,” Annandale-on-Hudson, NY, 15 August 2004.

“Kirov Opera: Prokofiev’s Semyon Kotko [with Catherine Nepomnyashchy],” Lincoln Center, New York, NY, 9 July 2003.

“Chaikovsky’s Miracle,” Princeton University [Alumni Lecture], 22 February 2003; Georgetown University [Wagner Society], Washington, DC, 9 December 2004.

“How to Listen to a Movie,” Princeton University [Alumni Lecture], 12 October 2002.

“Prokofiev’s The Gambler,” Metropolitan Opera, New York, NY, 15 March 2001.

“Fantasy and the Overture: Notes on Chaikovsky’s Romeo and Juliet,” Rutgers University, Newark, NJ, 27 January 2001.

“Chaikovsky and Byron,” New Jersey Symphony Orchestra Tchaikovsky Festival, 18-21 January 2001.

“Carmen” and “Six Characters in Search of an Author” for “Exploring Opera: Performance and Art [Princeton University Alumni College],” Princeton, NJ, 13-16 July 2000.

“Nikolai Rimsky-Korsakov’s Mozart and Salieri,” Taplin Auditorium, Princeton, NJ, 25 October 1999.

“Open Theater: Conservatism and Eclecticism at the Santa Fe Opera” and “Francis Poulenc: Dialogues des Carmélites” for “Desert Muse: Santa Fe and the Arts [Princeton University Alumni College],” Santa Fe, NM, 12-15 August 1999.


Ballet/Dance Productions [Score Restoration Work]

Satanella (in progress)

Within the Quota (2017)
Princeton University Ballet and Penguin Café (London) staging, on May 4, of Vince Greene and Simon Morrison’s restored and rescored version of a ballet-pantomime composed by Cole Porter for the Ballets Suédois in 1923. 

Select Press Coverage
“Cole Porter’s Pro-Immigration Ballet Gets A Trump-Era Revival,” NPR, 23 May 2017.
“Ballet Tackles Trump’s Travel Ban,” BBC News, 2 July 2017.

John Alden Carpenter’s Krazy Kat and Debussy’s The Toy Box (2010)

Music for athletes/Fizkul’turnaya muzyka (2009)

Romeo and Juliet (2008)
I restored the scenario and score of the original (1935) version of this ballet for the Mark Morris Dance Group. The project involved orchestrating act IV (featuring a happy ending) from Prokofiev’s annotations and rearranging the order and adjusting the content of acts I-III. This version of the ballet was premiered on 4 July 2008 and began an international tour the following September.

Select Press Coverage of Romeo and Juliet
“Merriment (and Eternal Love) in Both Their Houses,” New York Times, 15 May 2009.

“Mark Morris Dance Group to perform original ‘Romeo & Juliet’,” The Virginian-Pilot, 7 May 2009.

“In Fair Verona,” The Threepenny Review, Spring 2009.

“Romeo and Juliet, on Motifs of Shakespeare,” Stage, 10 November 2008.

“Stalin’s star-crossed lovers,” The Observer, 9 November 2008.

“V Londone proshla prem’era neobychnoy postanovki baleta Prokof’eva ‘Romeo i Dzhul’etta’,” Pervyi kanal, 6 November 2008.

“More sweet, less sorrow,” The Guardian, 3 November 2008.

“Londontsy uvidyat ‘Romeo i Dzhul’ettu’ so stsastlivym kontsom,” Lenta, 21 October 2008.

“Romeo and Juliet with a Happy Ending?” Times of London, 20 October 2008.

“Happy Endings,” Voice of Dance, 26 September 2008.

“Romeo i Dzhul’etta ne umirayut,” Kul’tura, 17-23 July 2008.

“Star-Crossed Lovers Saved!” Village Voice, 16 July 2008.

“A Morris-Prokofiev Collaboration,” Wall Street Journal, 8 July 2008.

“Morris’s ‘Romeo’: A Bloodless Valentine,” Washington Post, 8 July 2008.

“Modern Romantics,” The Phoenix, 8 July 2008.

“Romeo, Romeo,” The New Yorker, 7 July 2008.

“The Dictator’s Cut: Prokofiev’s ‘Romeo and Juliet’,” The Independent, 2 July 2008.

“Twist of Fate,” Vogue, 30 June 2008.

“O Romeo, Romeo, Wilst Though Smile at This Finale?” New York Times, Arts & Leisure Section, 29 June 2008.

“Harris Theater helps fund ‘Romeo and Juliet’ ballet,” Chicago Tribune, 14 February 2008.

“But Soft! Less Woe for Juliet and Her Romeo,” New York Times, Arts & Leisure Section, 18 November 2007.

Le Pas d’Acier (2005)

Select Press Coverage of Le Pas d’Acier:
“By way of Le Pas d’Acier Prokofiev and Iakulov’s Ursiniol comes to the stage,” Three Oranges 10 (November 2005): 36-39.

“Prokofiev’s Lost Ballet Found,” Dance Spirit 9:6 (July/August 2005): 38.

“The Hum of the Turbine, the Roar of the Crowd,” Dance Now 14:2 (Summer 2005): 72-75.

“Prokofiev’s ‘Le Pas d’Acier’,” danceviewtimes: writers on dancing 3:14 (11 April 2005): Online.

“Reaching for Original Intentions in a Prokofiev Ballet,” New York Times, Section E, 7 April 2005.

“Lost and Found: Le Pas d’Acier, a famous ballet, finally reaches the stage,” Daily Princetonian, 7 April 2005.

“At Last, Prokofiev’s ‘Lost Ballet’ Lives Again,” U.S. 1, Preview Section, 6 April 2005.

“Doing Right by Prokofiev,” New Jersey Times, Section BB, 3 April 2005.

“Ballet’s life given a soul, 78 years late,” Princeton Packet, 4 March 2005.

“‘Lost Ballet’ by Prokofiev to have World Premiere on Campus April 7-9,” Princeton Weekly Bulletin, 21 February 2005.

“A Professor Revives Prokofiev’s Robots,” New York Times, New Jersey Section, 22 February 2004.

“Fantomy Dyagilevskogo baleta,” Sankt-Peterburg Kommersant, 1 March 2002.


Theatrical Productions [Coordination and Fundraising]

Eugene Onegin (2012)
Combined student and professional performance of Sigizmund Krzhizhanovsky’s Pushkin-based drama and Prokofiev’s 1936 incidental music—part of the international conference After the End of Music History, February 9-12, 2012, Princeton University.

- Select Press Coverage of Eugene Onegin:
Prokofiev Version of ‘Eugene Onegin’ in a Russian Weekend at Princeton,” New York Times, Section B, February 13, 2012. 

Krazy Kat and The Toy Box (2010)
This student staging featured John Alden Carpenter’s 1921 pantomime Krazy Kat and Claude Debussy’s 1913 La Boîte à Joujoux (The Toy Box). The latter included an unknown jazz overture preserved at the Russian State Archive of Literature and Art.

Boris Godunov (2007)
This student staging brought together Alexander Pushkin’s 1825 drama and Prokofiev’s 1936 incidental music.

- Select Press Coverage of Boris Godunov:
“Torna sulla scena il Boris censurato” il giornale della musica, October 2007.

“Pushkin/Prokofiev ‘Godunov’ Finally Realized,” Philadelphia Inquirer, 16 April 2007.

“Masterpiece that Fell Victim to Stalin Finds US Audience,” Belfast Telegraph, 15 April 2007.

“V Prinstone s uspekhom proshla prem’era rekonstruktsii Meyerkhol’dovskogo ‘Borisa Godunova’,” Trud, 14 April 2007.

“Prokofiev’s Take on Pushkin’s Czar, Revealed at Last,” New York Times, Section B, 13 April 2007.

“‘Boris Godunov’ Makes World Premiere,” Daily Princetonian, 13 April 2007.

“Photo Journal: Rediscovered 1936 Boris Godunov, with Music by Prokofiev, Gets World Premiere in Princeton,” Playbill Arts, 11 April 2007.

“An 1825 Play Finally Premieres,” U.S. 1, Preview Section, 11 April 2007.

“A Lost ‘Boris Godunov’ is Found and Staged,” New York Times, Section B, 11 April 2007.

“‘Godunov’ Rises from Stalin’s Terror,” International Herald Tribune, 11 April 2007.

“Creative Connections: ‘Godunov’ project driven by scholarly, artistic collaborations,” Princeton Weekly Bulletin, 5 March 2007.

“Princeton Honored to Stage Premiere of Russian Classic,” New Jersey Times, Section A, 16 February 2007.

“Architecture Students Helping Bring Classic Russian Play to Life,” Princeton Weekly Bulletin, 20 November 2006.


Select Interviews

CBC The Current, 26 December 2016 (on the Bolshoi Ballet)

BBC Radio 4 Start of Week, 12 December 2016 (on the Bolshoi Ballet)

NPR Marketplace, 27 October 2016 (on the Bolshoi Ballet)

WNYC Radio, 10 May 2013 (on Lina Prokofiev).

BBC Radio 3 (London), 21 April 2013 (on Lina Prokofiev).

BBC World News (London), 21 April 2013 (on Lina Prokofiev).

DR P2 (Copenhagen), 19 April 2012, broadcast on 21 April (program on Shostakovich).

Cornell University Chronicle Online, 15 March 2011 (on Romeo and Juliet).

BBC Radio 3 (Belfast), 3 August 2010, broadcast on 21 August (program on Scriabin).

WFMT Radio (Chicago), 12 April 2010.

Newsweek, 31 July 2009, article posted 13 August (on “hold” music).

Telekanal Zvezda (Moscow), 10 June 2009 (program on Prokofiev).

BBC Radio 3 (Cardiff), 10 August 2007, broadcast on 9 October.

Princeton Alumni Weekly, 20 July 2007, article published 26 September (on Prokofiev).

BBC World Service, 11 April 2007, broadcast on 14 April.

WNYC Radio’s “Soundcheck,” 20 August 2004 (program on Shostakovich).

BBC Radio 3 (Cardiff), 3 July 2003, broadcast on 3 August.

Princeton Weekly Bulletin, 19 June 2003, article published 4 August (on Le Pas d’Acier).

Courses Taught

For Undergraduates

Global Seminar (Moscow: Culture, History, Politics, held summer of 2017 at the Institute for Art Research, Moscow, Russia), Introduction to Music, The Ballet, Music in the Romantic Era, Modernism, Music and Film, Russian Music, Tchaikovsky, Interdisciplinary Approaches to Western Culture: Literature and the Arts

For Graduate Students

Abstraction, The Ballets Russes and Collective Creation, Prokofiev and Shostakovich, The Ontology of Music and Dance, Scandinavian Music, Tchaikovsky, The Ballets Suédois

Princeton University Service

Director of the Fund for Canadian Studies, 2016–.

Executive Committee for the Program in Russian, East European, and Eurasian Studies, 2013–.

Faculty Representative to the Executive Committee of the Alumni Council, 2008–11.

Director of Graduate Studies, Music Department, 2006–7, 2010–11, Spring 2013, 2017-18.

Freshman Advisor, 2000-01, 2002–3, 2005–7, 2008–.

Committee on Discipline, 2000–1.

Undergraduate Representative (Director of Undergraduate Studies), 2000–1, Spring 2003, 2004-5.


Other Service

National Endowment of the Humanities, Adjudicator (Fellowship Applications in Music and Dance), March 2017.

[with Peter Schmelz], Series Editor, Russian Music Studies, Indiana University Press, 2016–.

Organizing Committee for the International Symposium “Prokofiev in the 21st Century,” Glinka National Museum Consortium, Moscow, Russia, 2016.

Trustee of the Serge Prokofiev Foundation, 2010–15; President, 2011–15.

Communications Committee, American Musicological Society, 2017 –

Publications Committee, American Musicological Society, 2013–17.

Editor, Three Oranges: The Journal of the Serge Prokofiev Association, 2010–15.

Scholar in Residence, Bard Music Festival, Summer 2008.

Editorial Board, Journal of the American Musicological Society, 2007–10.

Committee, AHJ/AMS 50 Dissertation Fellowships, American Musicological Society, 2006–9.



American Musicological Society


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, Canadian Slavonic Papers, Journal of the American Musicological Association, Journal of Musicology, Music & Letters, Musical Quarterly, Russian Review, and Slavic Review.