alexandra.coghlan

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

Faust, Royal Opera review - pure theatre in this solid revival Saturday, 24 May 2025 Read more...	Pygmalion, Early Opera Company, Curnyn, Middle Temple Hall review - Rameau magic outside the opera house Wednesday, 21 May 2025 Read more...
Attacca Quartet, Kings Place review - bridging the centuries in sound Sunday, 16 March 2025 Read more...	The Marriage of Figaro, English National Opera review - long on laughs, short on kerb appeal Thursday, 06 February 2025 Read more...
La rondine, LSO, Pappano, Barbican review - sumptuous orchestral playing in an underrated score Wednesday, 11 December 2024 Read more...	The Sound Voice Project, Linbury Theatre review - an art installation that has strayed into an opera house Saturday, 16 November 2024 Read more...
Kanneh-Mason, Sinfonia of London, Wilson, Barbican review - taking the roof off the Barbican Wednesday, 16 October 2024 Read more...	Frang, LSO, Pappano, Barbican review - a concerto performance to treasure Friday, 13 September 2024 Read more...
La traviata, Royal Opera review - a charismatic soprano in a serviceable revival Tuesday, 10 September 2024 Read more...	Everest, Barbican review - a powerful operatic debut from Joby Talbot Saturday, 24 June 2023 Read more...
Werther, Royal Opera review - Kaufmann off form in this stiff revival Wednesday, 21 June 2023 Read more...	Rigoletto, Opera Holland Park review - Verdi's Duke gets the Oxbridge treatment Wednesday, 31 May 2023 Read more...
Il Trionfo del Tempo e del Disinganno, Academy of Ancient Music, Milton Court review - radiant and full of life Friday, 12 May 2023 Read more...	Theodora, Arcangelo, Cohen, Barbican review - gloriously dark and sober Thursday, 30 March 2023 Read more...
La bella dormente nel bosco/L'enfant et les sortilèges, Royal College of Music review - pure theatrical magic Wednesday, 15 March 2023 Read more...	The Winter's Tale, Shakespeare's Globe review - clever concept never quite catches fire Saturday, 04 March 2023 Read more...

latest in today

'We are bowled over!' Thank you for your messages... ...

Till the Stars Come Down, Theatre Royal Haymarket review - a...

The 2024 play at the National...

Too Much, Netflix - a romcom that's oversexed, and over...

A thirtysomething American woman with wavering self-confidence, a tendency to talk too much and a longing for married bliss with Mr...

Sir Brian Clarke (1953-2025) - a personal tribute

Brian Clarke died on 1 July 2025, after a long illness. He was one of the most original British artists of our time – wide-ranging, original...

Music Reissues Weekly: Beggars Arkive - Gary Numan's 19...

Tubeway Army’s “Are ‘Friends’ Electric” hit the top of the UK single’s chart in the last week of June 1979. It stayed there for four weeks. Its...

The Other Way Around review - teasing Spanish study of a bre...

Can a romcom be intellectually...

Album: Wet Leg - moisturizer

War, pestilence, famine, death. I don’t know about you, but I’ve had my fill of them all. So what better time to visit the genuinely sunny uplands...

Nye, National Theatre review - Michael Sheen's full-blo...

The National Health Service was established 77 years ago this month. Resident doctors are about to strike for more pay, long waiting lists for...

Emily Kam Kngwarray, Tate Modern review - glimpses of anothe...

It took until the last room of her exhibition for me to gain any real understanding of the work of...

Album: Tami Neilson - Neon Cowgirl

Tami Neilson’s career is long and storied. The short version is that she began with a 1990s Canadian family band (opening for Kitty Wells, aged 10...