mon 16/07/2018

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 Winter's Tale, Shakespeare's Globe review - a chilly tale for a time of austerity

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Partenope, Iford Arts review - a midsummer night's dream of a Handel comedy

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theartsdesk in Paris - following in the footsteps of Gounod

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Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation

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Die Zauberflöte, Garsington Opera review - visually stimulating, conceptually confusing

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Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile

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Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hot

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An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture

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Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

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Rinaldo, The English Concert, Barbican review - Bicket's band steals the spotlight

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Dead Man Walking, Barbican review - timely and devastating meditation on human violence and forgiveness

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Kaufmann, Damrau, Deutsch, Barbican review - bliss, if only you closed your eyes

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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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Paul Simon, BST Hyde Park review - still sprightly after 76...

"Homeward Bound – the Farewell Tour", they were calling it. But with a show this strong, nobody would complain if that farewell were to turn out...

Prom 3, BBC Young Musician at 40 review - multi-layered birt...

How do you go about co-ordinating a spectacular like this, the first ever BBC Young Musicians'...

Unforgotten, Series 3, ITV review - death on the M1

So it’s back to London’s Bishop Street police station for a...

Preoccupations, The Haunt, Brighton review - energetic set s...

Hailing from Canada and born from the ashes of cult indie heroes Women (the band responsible...

CD: Drake - Scorpion

This is Drake’s account of his astrological sign, the only one to be represented in multiple forms: an eagle and phoenix as well as the...

Guy Stagg, The Crossway review – a gripping pilgrimage throu...

On new year’s day in 2013, Guy Stagg set out to walk alone from Canterbury to Jerusalem. He planned this journey, which would take ten months,...

First Reformed - faith fights the eco-apocalypse

Father Ernst Toller (Ethan Hawke) calls himself one of God’s lonely men. The term given to Paul Schrader’s anti-...

Isabeau, Opera Holland Park review - Mascagni's lumpy G...

Valiant Opera Holland Park, always taking up the gauntlet for Italian operas which should mostly never be staged again. Worst was Zandonai's ...

Reissue CDs Weekly: Kamal Keila

Music from Sudan is overshadowed by the country’s recent history. At the end of June 1989, Colonel Omar al-Bashir assumed control and it became a...

The Lehman Trilogy, National Theatre review - an acting tour...

There's surprising and then there's The Lehman Trilogy, the...