thu 29/07/2021

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

The Two Character Play, Hampstead Theatre review - tender, poetic and piercingly cruel

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Current, Rising, Royal Opera House review - a joyful celebration of storytelling possibility

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Brian Elias Focus Day, Concert 1, Wigmore Hall online review - portrait of the artist in miniature

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How Lonely Sits The City, Dunedin Consort online review - almost as good as being in the concert hall

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Allan Clayton, Stephanie Wake-Edwards, James Baillieu, Wigmore Hall review - consummate musicality and technique

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Louise Alder, Roger Vignoles, Wigmore Hall review - German Romanticism meets French eroticism

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Eugene Onegin, Komische Oper, OperaVision review - sensual and devastating

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Cosi fan tutte, English Touring Opera review - a blissful, uncomplicated delight

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The Taming of the Shrew, Sam Wanamaker Playhouse review - a confused and toothless mess

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prisoner of the state, Barbican review - beauty, but where is the drama?

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Der Freischütz, Barbican review - Gothic chills rooted in flesh and earth

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Zauberland, Linbury Theatre review - an adaptation that adds much and gains nothing

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theartsdesk at Itinéraire Baroque 2019 - a musical journey through the Périgord

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Il Segreto di Susanna/Iolanta, Opera Holland Park review - superb singing, mixed staging

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Trouble in Tahiti/A Dinner Engagement, Royal College of Music review - slick, witty and warm

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A Midsummer Night's Dream, Nevill Holt Opera review - sprinkled with musical fairy-dust

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latest in today

Bagdad Café, Old Vic review - sweet but scattershot

A gorgeous song exists in search of a show to match over at Bagdad Café, the 1987 film that gave the world the...

theartsdesk at the Three Choirs Festival - Purcell, Gabriel...

King Arthur, as every schoolgirl knows, never actually existed, so it made perfect sense that the Gabrieli Consort’s Worcester Cathedral...

Oleanna, Arts Theatre review - Mamet on power and tragedy

Before seeing this play, I decided to eat a steak. It seemed the right culinary equivalent to David Mamet, one of...

Album: Willy Mason - Already Dead

Already Dead’s opening cut is titled “Youth on a Spit”. As it unfolds, Willy Mason declares “I feel no pain I’ve already bled / You can’t...

The Most Beautiful Boy in the World review - a harrowing tal...

The Most Beautiful Boy in the World is the most harrowing film you are ever likely to watch, but don’t let that put you off. This was a...

Opera in Song, Opera Holland Park review – world-class singe...

Now that the summer opera-house companies have pulled off staged triumphs...

Album: Dot Allison - Heart-Shaped Scars

Scottish singer-songwriter Dorothy Allison pretty much defines cool. Her band One Dove was the first to snare Andrew Weatherall as producer after...

The Two Character Play, Hampstead Theatre review - tender, p...

It’s the trivia question no one ever thought to ask: where was the only Tennessee Williams play premiered outside America first performed? The...

10 Questions for novelist Mieko Kawakami

Mieko Kawakami sits firmly amongst the Japanese literati for her...

Professor T, ITV review - whimsical tales of boffinly detect...

ITV’s new detective mystery, Professor T, is an...