Rosamund Bartlett
review of Avant-Gardists: Artists in Revolt in the Russian Empire and the Soviet Union, 1917-1935,
Apollo, June, 2024
review of Kandinsky: a Life in Letters, 1889-1944, Literary Review, May, 2024
“Omnes Manet Una Nox”, article for programme of VANYA, Duke of York’s Theatre, September 2023
“Iolanta”, article for programme of Tchaikovsky’s Iolanta, If Opera, September 2023
“Sydney Modern Rethinks Australian Art”, Apollo, May 2023
review of In the Eye of the Storm: Modernism in Ukraine, 1910-1930, Museo Thyssen-Bornemisza, Madrid, Apollo, March 2023
“Tolstoy”, Chekhov in Context, ed. Yuri Corrigan, Cambridge University Press, 2023
“The Family”, Tolstoy in Context, ed. Anna Berman, Cambridge University Press, 2022
“Marianne Werefkin’s Modernism”, Apollo, October 2022
“Flucht aus dunklen Reichen: Über Ostrowskis Kaufleute in Gewitter und ehebrecherische Frauen in der russischen Literatur” (“Escape from Dark Kingdoms: On Ostrovsky’s Merchants in Thunderstorms and Adulterous Women in Russian Literature”), programme for Leoš Janáček, Káta Kabanová, Salzburg Festival,
2022, 49-57
“Peter the Great and his Radical Reforms”, “e-lecture”, The Arts Society, February 2022
“Dostoevsky’s Devotion to the Old Masters”, Apollo, November 2021
“Scarlet Women”, article accompanying production of Leoš Janáček, Kát’a Kabanová, Glyndebourne Festival programme book, 2021
“Ivan Morozov: the merchant from Moscow who fell for the Parisian avant-garde”, Apollo, February 2021
“About Dostoevsky, the Writer’s Diary and the Russian Soul”, Bloggers Karamazov, December 2020
“Tchaikovsky’s True Tatyana”, on the hidden history of the soprano Alexandra Panaeva, Opera Holland Park,
July 2020
“Russian Spark: The Palace Builders of St. Petersburg”, Apollo, March 2020
“Beardsley and Russia”, Aubrey Beardsley, ed. Stephen Calloway and Caroline Corbeau-Parsons, catalogue for
Tate Britain exhibition, March 2020
“Life in Russia 1905-1917”, programme for Gorky’s Vassa, Almeida Theatre, October 2019
“From Female Nudes to the Ballet Russe: Natalia Goncharova, the Avant-Garde Rebel Painter”, The Telegraph,
1 June 2019
“Which Translation of War and Peace Should I Read?”, Five Books, 2019
“An Opera Written with Love”, programme note for The Queen of Spades, Royal Opera House, Covent Garden, 2019
“Seeds of the Real Cherry Orchard” - on Chekhov’s passion for plants inspiring a new garden at the RHS Hampton Court Flower Show, Daily Telegraph, 30 June, 2018
“Tchaikovsky and the Imperial Theatres”, programme note for Swan Lake, Royal Ballet, Covent Garden, 2018
Interview about Dostoyevsky and “The Russian Soul”, Shiny New Books, February 2018
“From the Nose to the Lady”, “The Impact of Lady Macbeth”, programme note for Lady Macbeth of Mtsensk,
Royal Opera House, Covent Garden, 2018
“On Editing and Translating Chekhov’s Letters”, Chekhov’s Letters: Biography, Context, Poetics, ed. Carol Apollonio, Radislav Lapushin, Lanham, MD: Lexington Books, 2018
‘Tolstoy’s Fiction: Its Spiritual Legacy’, Tolstoy and Spirituality, ed. Predrag Cicovacki, Boston: Academic Studies Press, 2018
Introduction, The Russian Soul: Selections from A Writer’s Diary by Fyodor Dostoevsky, Notting Hill editions, 2017
‘Dmitri Stelletsky: Russian Unorthodox’, Bonhams Magazine, issue 51, summer 2017
‘The Creation of The Nose’, programme note for Royal Opera House production of Shostakovich’s The Nose, October 2016; reprinted in the programme for the production at the Sydney Opera House, February 2018
‘The Revolutionary Collector Who Changed the Course of Russian Art’, Apollo, September, 2016
“Early Chekhov”, National Theatre Blog, July 2016
“Tolstoy in Art and On Film”, OUPblog, May 2016
“Chekhov and the Human Condition”, programme note for Uncle Vanya, dir. Robert Icke, Almeida Theatre, February 2016
“How Tolstoy Rewrote the History of Russia”, Daily Telegraph, 2 January 2016
“Theatrical Life in the Early Years of Soviet Power”, article for programme accompanying English National Opera production of Shostakovich’s Lady Macbeth of Mtsensk, 2015
“A Bright Future: The Miracle of the Moscow Metro”, article to accompany exhibition of photographs by David Burdeny, A Bright Future, New Work From Russia, Jennifer Kostuik Gallery, Vancouver BC, Canada, 2015
“The Tolstoys”, foreword to Oleg Tolstoy-Miloslavsky, The Tolstoys in the 21st Century (London: Merrell, 2015)
“What the Bees Do in Anna Karenina and Other Works by Tolstoy: A Study in Three Parts”, Tolstoy Studies Journal, vol. XXXVI (2014)
“Stravinsky and Switzerland: A Russian Composer’s Liberation”, Igor Stravinsky: Sounds and Gestures of Modernism, ed. Massimiliano Locanto et al (Turnhout: Brepols, 2014)
“Anna Karenina - the devil in the details” - on the challenges of Tolstoy’s vivid colloquial language, The Guardian, 6 September 2014
“Tolstoy’s Anna Karenina: A Woman’s Iliad?” (a comparison of Tolstoy’s portrait of the fictional Anna Karenina to Millais’ portrait of the artist Louise Jopling), OUPblog, 25 August 2014
“Tolstoy Translated: How the works of Russia’s greatest writer of genius were introduced to the English-speaking world”, Financial Times, 8 August 2014
“Malevich - Radical Who Blazed a Path into the Future”, Daily Telegraph, 12 July 2014
‘Would Chekhov have stood up to Putin?’ - on Chekhov and the Crimean Tatars, Daily Telegraph, 18 April 2014
“What the Bees Do in Anna Karenina and Other Works by Tolstoy”, Beekeepers Quarterly, March and June 2014
“Translating Tolstoy”, New Ohio Review, 13 (2013)
“Note on the Translations”, Leo Tolstoy, The Death of Ivan Ilych & Confession, tr. Peter Carson, introd. Mary Beard (New York: Liveright, 2013)
“Verdi and the Revolution in Russian Theatre”, Verdi Reception, ed. Lorenzo Frassà (Turnhout: Brepols, 2013)
“Town and Country in Late 19th-Century Russia”, English National Opera programme for Eugene Onegin, 2011
“A View from this Bridge”: on Russia’s complicated relationship with Tolstoy’s towering legacy, Vintage Books International Writing website, April 2011
“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. David 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 Motherland”, introduction to Simon Roberts, Motherland (London: Chris Boot), 2007
Afterword, Anton Chekhov: The Major Plays (New York: Signet, 2006)
“Hedging one’s bets: Shostakovich’s unfinished opera The Gamblers”, programme note, Royal Liverpool Philharmonic Orchestra, 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
"Iz istorii sozdaniya ‘Val’kirii’", Muzykal’naya akademiya, 3 (1994)
"The Embodiment of Myth: Eizenshtein's Production of Die Walküre", Slavonic and East European Review, 1 (1992), pp. 53-76
