“Tolstoy’s ‘After-life’: An Ambivalent Centenary”, openDemocracy Russia, November, 2010
“Chekhov House: A Story with a Happy Ending”, openDemocracy Russia, November, 2010
Foreword, The Mariinsky Theatre: A Chronology of Opera Performances, 1860-1917, ed. Paul Fryer (Lewiston, NY: Edwin Mellen Press, 2010)
“Prokofiev’s Gambler on the Russian stage”, Royal Opera House programme for The Gambler, 2010
“Remembering Chekhov in Yalta”, openDemocracy Russia, February, 2010
“The Ukrainian Muse” [on Tchaikovsky and Gogol], Royal Opera House programme for The Tsarina’s Slippers, 2009
Introduction to Turgenev, Fathers and Sons, tr. Peter Carson (London: Penguin Classics, 2009)
“Shostakovich and the Debates about Opera in 1920s Soviet Russia”, D.D. Šostakovic tra musica, letteratura e cinema”, ed. R. Giaquinta, (Florence: Leo S. Olschki, 2008)
"Shostakovich as Opera Composer", The Cambridge Companion to Shostakovich, ed. D. Fanning and Pauline Fairclough (Cambridge: Cambridge University Press, 2008)
“Rimsky-Korsakov’s Snegurochka”: article for Wexford Festival Opera programme, 2008
“Japonisme and Japanophobia: the Russo-Japanese War in Russian Cultural Consciousness”, Russian Review, 1 (2008), 1-38
“Uncle Vanya and the Russian Soul”, programme for the English Touring Theatre production, 2007
“Chekhov’s Uncle Vanya”, programme for production at the Gate Theatre, Dublin, 2007
“The Post-Soviet Musical Landscape”, Slavonica, 1 (2007), 7-25.
Portugese translation published as “A Música na Rússia Hoje”, Diapason, 3 (2006), 56-63
Russian translation published as "Postsovetskii muzykal'nyi landshaft" Rossiiskaya muzykal'naya gazeta, 6 (2004), 5-6; 7 (2004), 8-9.
“Storm On The Volga: Kát’a Kabanová’s Russian Source”, Royal Opera House programme, 2007
“Thoughts on The Seagull, Moscow, and Chekhov’s Place in the Pantheon”, programme for the Royal Shakespeare Company production, 2007
“The Meaning of Rodina”, introduction to Simon Roberts, Motherland (London: Chris Boot), 2007
Afterword, Anton Chekhov: The Major Plays (New York: Signet, 2006)
"’Notes in a Musical Score’: The Point of Chekhov's Punctuation", Essays in Poetics, 31 (2006), 43-66
"Russian culture 1800-1917”, The Cambridge History of Russia, vol. 2, ed. Dominic Lieven (Cambridge: Cambridge University Press, 2006), 92-115
“Fugue or Music Drama? Symmetry, Counterpoint and Leitmotif in Dostoevsky’s The Brothers Karamazov”, Phrase and Subject: Studies in Music and Literature, ed. Delia Da Sousa Correa (Oxford: Legenda, 2006), 167-77
“Revolution auf der sowjetischen Bühne: Wagner-Inszenierungen der Avantgarde in Moskau, Leningrad und Kiew, 1918-1940”, Mit mehr Bewußtein zu spielen: Vierzehn Beiträge über Richard Wagner, ed. Christa Jost (Munich: Hans Schneider, 2006), 273-94
“Rimsky-Korsakov’s May Night”, Garsington Opera programme book, 2006
“An Opera Without Pretence”, Royal Opera House programme book for Eugene Onegin, 2006
“From Russia with Love”[on the centenary of Chekhov’s death], The Guardian,15 July 2004
“A Composer’s Duties”, Royal Opera House programme book for Lady Macbeth of Mtsensk, 2004
“Stravinsky's Russian Origins”, The Cambridge Companion to Stravinsky, ed. Jonathan Cross, Cambridge: Cambridge University Press, 2003, pp. 3-18
“A Reception History of Boris Godunov”, Royal Opera House programme book for Boris Godunov, 2003
“Letter from Badenweiler”, Times Literary Supplement, 27 December 2002, p. 11
"Pasternak and the Revolution", programme note to accompany Music Theatre Wales' production of Nigel Osborne's The Electrification of the Soviet Union, autumn 2002
“Pushkin, Tchaikovsky and the Queen”, Royal Opera House programme book for The Queen of Spades, 2001
"The Circle and the Line: Eisenstein, Florensky and Russian Orthodoxy", Eisenstein at 100: A Reconsideration, ed. Albert J. LaValley and Barry Scherr (New Brunswick: Rutgers University Press, 2001) pp. 65-76
“Wagner’s Theology of Redemption”, Royal Opera House programme book for Parsifal, 2001
"Shostakovich and Chekhov", Shostakovich In Context, ed. R. Bartlett (Oxford: Oxford University Press, 2000), pp. 199-218
"Tchaikovsky and Wagner: A Reassessment" , Tchaikovsky and His Contemporaries, ed. Alexandar Mihailovic (New York: Greenwood Press, 1999), pp. 95-116
"Sonata Form in Chekhov's 'The Black Monk'", Intersections and Transpositions: Russian Music, Literature and Society, ed. Andrew Wachtel (Evanston: Northwestern University Press, 1998), pp. 58-72
"Tchaikovsky, Chekhov and the Russian Elegy", Tchaikovsky and his World, ed. Leslie Kearney (Princeton: Princeton University Press, 1998), pp. 300-318
"Diaghilev as Musician and Concert Organiser", Diaghilev: Creator of the Ballets Russes, ed. Ann Kodicek (London: Barbican Art Gallery/Lund Humphries, 1996), pp. 49-52
"Khovanshchina in Context", Khovanshchina: English National Opera Guide, ed. Jennifer Batchelor and Nicholas John (London: John Calder, 1994), pp. 31-37
"The Embodiment of Myth: Eizenshtein's Production of Die Walküre", Slavonic and East European Review, 1 (1992), pp. 53-76
