Paul du QuenoyFRSA (born November 15, 1977) is an American publisher, critic, historian, and philanthropist. He is President and CEO ofAcademica Press, an international non-fiction publisher based in Washington, D.C., and London,[1] and President of the Palm Beach Freedom Institute.
Paul du Quenoy's first book,Stage Fright: Politics and the Performing Arts in Late Imperial Russia, was published in 2009. The book attacks Soviet arguments and demonstrates the vital commercial elements in Russian culture, which du Quenoy argues was relatively free before the Revolution of 1917.[5] According to theModern Language ReviewStage Fright offers "a detailed counter-argument to teleological readings of the cultural and political situation in late imperial Russia."[6] The book was commended byPrinceton University Russia scholarCaryl Emerson for "its devastating command of the historical record."[7] Professor E. Anthony Swift of theUniversity of Essex described it as an "important new contribution to the field" that "should be read by anyone interested in the relationship of politics and the arts."[8][9]
Paul du Quenoy subsequently publishedWagner and the French Muse: Music, Society, and Nation in Modern France (2011), an extensively documented narrative of the German composerRichard Wagner's reception in France.[10] Novelist, poet, andWelsh National Opera dramaturg Simon Rees's review inOpera magazine called it a "rattling good read" and "well-written analysis."[11] His third book,Alexander Serov and the Birth of the Russian Modern (2016, rev. 2nd edition 2022) was described byRussian Review as a "new angle" with "views that allow for a reexamination of some of the century's biggest controversies."[12]Music and Letters described it as "ably written, balanced, highly detailed, and documented with care ... As such it outdoes existing Russian efforts."[13] He has also published a volume of selected music criticism.The Royal Opera's chorus director William Spaulding hailed it as "knowledgeable and accessible," adding that "Paul du Quenoy's brilliant reviews reveal the timelessness of opera's core values."[14]
To protest theUniversity of Michigan's disciplinary investigation of the composerBright Sheng for having screened SirLaurence Olivier's 1965 film version ofShakespeare'sOthello, in which Olivier appeared in black face, du Quenoy commissioned Sheng to compose a symphonic overture on the theme of freedom.[41][42] The disciplinary investigation was subsequently dropped.[43] The commissioned overture, titled "Triumph of Humanity," premiered at the opening concert of the Palm Beach Symphony's 50th anniversary season on November 19, 2023, under the baton of music directorGerard Schwarz.[44] Du Quenoy conducted theStar-Spangled Banner to open the concert.[42]
In 2024, theCrown Council of Ethiopia granted du Quenoy the Victory ofAdwa Centenary Medal in recognition of his advocacy and charitable work. The Council's presidentPrince Ermias Sahle Selassie recognized du Quenoy among "supporters in the international community who give aid to the patriots struggling to restore peace and freedom."[42]
Paul du Quenoy was a sponsor ofPalm Beach Opera's annual gala in 2025, when it featured the controversial Russian sopranoAnna Netrebko as its recital soloist. The occasion marked Netrebko's return to the North American stage after more than five years of absence due to political fallout from theRussian invasion of Ukraine.[45]
Stage Fright: Politics and the Performing Arts in Late Imperial Russia (2009)
Wagner and the French Muse: Music, Society, and Nation in Modern France (2011)
Alexander Serov and the Birth of the Russian Modern (2016/2022)
Cancel Culture: Tales from the Front Lines (2021)
Through the Years with Prince Charming: The Collected Music Criticism of Paul du Quenoy (2021)
Articles
"In the Most Uncompromising Russian Style: The Russian Repertoire at the Metropolitan Opera, 1910–1947".Revolutionary Russia. 28: 1, 2015.
"Arabs under Tsarist Rule: The Russian Occupation of Beirut, 1773–1774".Russian History/Histoire Russe. 41: 2, 2014.
"Staging Russia: The Russian Repertoire at the Metropolitan Opera, 1943–1972".Beirut Humanities Review. 1: 1, 2014.
"'It Could Be A Lot Worse:' Imperial Russian Theatrical Censorship in a Comparative Perspective".Canadian-American Slavic Studies. 46: 3, 2012.
"Tidings From A Faraway East: The Russian Empire and Morocco".International History Review. 33: 2, June 2011.
"'Honeymoon to Bayreuth:' French Appreciations of Richard Wagner in the Interwar Era".Wagner Journal. 5: 1, March 2011.
"Vladimir Solov'ev in Egypt: The Origins of the 'Divine Sophia' in the Development of Russian Religious Philosophy".Revolutionary Russia. 23: 2, December 2010.
"The Russian Empire and Egypt, 1900–1915".Journal of World History. 19: 2, June 2008.
"Perfecting the Show Trial: The Case of Baron von Ungern-Sternberg".Revolutionary Russia. 19:1, June 2006.
"With Allies Like These, Who Needs Enemies?: Russia and the Problem of Italian Entry into World War I".Canadian Slavonic Papers. 45: 3–4, September–December 2003.
"Warlordism à la russe: Baron von Ungern-Sternberg's Anti-Bolshevik Crusade, 1917–1921".Revolutionary Russia. 16: 2, December 2003.
"The Role of Foreign Affairs in the Fall of Nikita Khrushchev in 1964".International History Review. 25: 2, June 2003.
"The Opiate of the Intellectuals?: Reflections on Communism at the Turn of the Millennium".Security Studies. 11: 3, Spring 2002.
"Guillaume de Beauplan's Description de l'Ukraine and its Place in Ukrainian Historiography".Ukrainian Quarterly. 57: 3–4, Fall-Winter 2001.
"The Skoropadsky Hetmanate and the Ukrainian National Idea".Ukrainian Quarterly. 56: 3, Fall 2000.
^Thurston, Gary (2012). "Paul du Quenoy . Stage Fright: Politics and the Performing Arts in Late Imperial Russia . University Park: Pennsylvania State University Press. 2009. Pp. Xiii, 290".The American Historical Review.117:296–297.doi:10.1086/ahr.117.1.296.
