thu 25/04/2024

alexandra coghlan

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Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

Jansen/Maisky/Argerich Trio, Barbican review - three classical titans give chamber music masterclass

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Orlando, La Nuova Musica, SJSS review - Handel painted in primary colours

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Louise Alder, James Baillieu, Wigmore Hall review - sensual heat thaws a winter's evening

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I, Object review - this operatic double-bill delivers just a single hit

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The Secret Theatre, Sam Wanamaker Playhouse review - a ferocious topical satire dressed up in period costume

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LSO, Alsop, Barbican review - Bernstein 100 opens not with celebrations but existential angst

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Orpheus Caledonius, Brighton Early Music Festival review - a thrilling meeting of musical clans

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Written On Skin, Melos Sinfonia, LSO St Luke's review - an ambitious musical achievement

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Hansel and Gretel, Pop-Up Opera review - salty-sweet production takes wry pleasure in classic fairytale

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Prom 51 review: Perianes, BBCSO, Oramo - brightly coloured musical postcards

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King Lear, Shakespeare's Globe - Nancy Meckler's Globe debut is unusually subdued

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Prom 33 review: Davidsen, Gerhardt, BBC Philharmonic, Storgårds - Nordic music glowing with colour

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Prom 14 review: BBCSSO, Wilson - illusion after illusion from musical conjurer

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Much Ado About Nothing, Shakespeare's Globe review - swaggering Shakespeare with a comic Spanish accent

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Prom 7 review: Weilerstein, BBCSO, Weilerstein - new cello concerto enthrals

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Queen Anne, Theatre Royal Haymarket review - slow, long and dull

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Eye to Eye: Homage to Ernst Scheidegger, MASI Lugano review...

With a troubled gaze and a lived-in face, the portrait of artist Alberto Giacometti on a withdrawn...

Christian Pierre La Marca, Yaman Okur, St Martin-in-The-Fiel...

The French cellist Christian-Pierre La Marca confesses that – like so many classical musicians...

That They May Face The Rising Sun review - lyrical adaptatio...

In director Pat Collins’s lyrical adaptation of John McGahern’s last novel, with cinematography by Richard Kendrick, the landscape is perhaps the...

Album: Pet Shop Boys - Nonetheless

This album came with an absolutely enormous promo campaign. As well as actual advertising there were “Audience With…” events, and specials on BBC...

Ridout, Włoszczowska, Crawford, Lai, Posner, Wigmore Hall re...

Advice to young musicians, as given at several “how to market your career” seminars: don’t begin a biography with “one of the finest xxxs of his/...

Stephen review - a breathtakingly good first feature by a mu...

Stephen is the first feature film by multi-media artist Melanie Manchot and it’s the best debut film I’ve seen since Steve McQueen’s ...

Album: Mdou Moctar - Funeral for Justice

Despite its title, Mdou Moctar’s new album is no slow-paced mournful dirge. In fact, it is louder, faster and more overtly political than any of...

Blue Lights Series 2, BBC One review - still our best cop sh...

The first season of Blue Nights was so close to ...

Sabine Devieilhe, Mathieu Pordoy, Wigmore Hall review - ench...

Sabine Devieilhe, as with many other great sopranos, elicits much fan worship, with no less than three encores at her recent Wigmore Hall recital...

Jonn Elledge: A History of the World in 47 Borders review -...

In A History of the World in 47 Borders, Jonn Elledge takes an ostensibly dry subject – how maps and boundaries have shaped our world –...