For someone whose latest project involves a time-traveling zeppelin and reality-bending scientists, composer Olga S Popova speaks with surprising gentleness about her craft. Her eyes light up not when discussing her achievements, but when remembering her earliest encounters with music in Moscow.
“I’ve been surrounded by music for as long as I can remember,” she says, recalling her childhood. “Growing up in Moscow, I was naturally drawn to the piano, and by the time I could reach the keys, I was already trying to improvise melodies.”
That natural curiosity led her from the Central Music School of the Tchaikovsky Conservatory to stages across the world. Yet despite her impressive trajectory – from soloist at the Stanislavsky Music Theatre at age nine to winning the Mozart Wunderkind Competition in Austria at ten – Popova maintains a learner’s mindset about her craft.
Her latest work, “Wayne’s Gun Part 1: 1924,” released March 14, exemplifies this approach to artistic growth. The album brings together more than 150 artists from over 10 countries to tell an unusual story: a time-traveling zeppelin accident that rips apart reality itself. At its heart, it’s a steampunk fever dream disguised as a musical, one that Popova has crafted by weaving together unlikely threads of historical fiction, science fantasy, and deeply human storytelling. The genre-bending result feels less like a traditional musical and more like stepping through a portal into someone else’s imagination.
The production’s scope is ambitious, featuring contributions from five-time Billboard nominee Luis Canción, known for his work with Snoop Dogg and Lecrae, and Romano Eraffici of Universal Music Poland. Since its stage premiere in Moscow in December 2021 and subsequent U.S. debut at Jackson Browne Stage in April 2022, the show has earned recognition from Broadway director Eric Stern and United Nations representative Ada Samuelsson – acclaim that Popova accepts with characteristic grace.
A graduate of Berklee College of Music with a double major in Film Scoring and Performance, Popova speaks of her musical style not as an achievement, but as an ongoing exploration. “My music is a journey through time and genres,” she says, describing the way she weaves together classical training and contemporary innovation. It’s this willingness to experiment while respecting traditional forms that gives her work its distinctive character.
Currently, Popova is preparing Parts 2 and 3 of the musical, alongside plans for theatrical touring productions and potential film adaptations. She’s also looking forward to performing live with an orchestra under Jordan Conover’s direction and collaborating with dancers from the Boston Conservatory. Yet amid these expanding horizons, she maintains a grounded perspective on artistic development.
“Music, like life, doesn’t always unfold on our timeline,” she reflects, in what could be considered her creative philosophy. “Sometimes, the ideas take longer to materialize, and the pieces don’t always come together as quickly as you’d like. But every step, every delay, and every challenge is part of the journey.”
It’s this patient approach to creativity, combined with genuine appreciation for her artistic collaborators, that seems to drive Popova’s work forward. As “Wayne’s Gun Part 1: 1924” finds its audience on Spotify and Apple Music, she continues to focus on the art of possibility rather than the acclaim.
Fans can follow Popova’s continuing artistic journey on Instagram, Facebook, or through her official website.
