alexandra.coghlan
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

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Popular culture includes both will-o'-the-wisp confections, gone in 900 seconds pace Warhol’s aphorism, but can also creates a shorthand…
What does a spectacular backdrop give to – or maybe take from? – a music festival? Exit the Wigmore Hall and, however transcendent the…
Tread softly into Jon Batiste’s third volume of his Piano Series, Monk Meditations, drawing on and drawing out a number of introspective…
 Water Colour ★★★★Milly Sweeney’s powerful two-hander comes to one of the Fringe’s highest-profile venues bearing prestigious awards…
Although the sound quality is slightly boxy, the opening track on CBGB’s 1985 is a treat. “Gardens” is on a line between first-album Rain…
On first impressions, London vocal trio FLO’s music can seem very familiar. Their sound has always been that of American R&B rooted…
It’s three typical cat-lives since Andrew Lloyd Webber and Trevor Nunn staged TS Eliot’s Old Possum’s Book of Practical Cats as a musical.…
Director Charlie McDowell's The Summer Book is a beautiful, somewhat wistful film that follows the residents of a tiny Finnish island (…
Poor Oberon! An opera scorned so long as weird and silly,A mash-up of outlandish tales all chucked in willy-nilly.Now brave Sir Mark (…
Comparatively speaking, Rotherham appears in the news more than most British towns of an equivalent size. And much of that news is not good…