sun 05/04/2020

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

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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Un ballo in maschera, Opera Holland Park review - evocative and sensationally sung

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Falstaff, The Grange Festival review - belly laughs and bags of fun

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Agrippina, Barbican review - over-the-top comic brilliance

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Brockes-Passion, AAM, Egarr, Barbican review - fleshly Handel for our earthbound times

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Judith, Royal Festival Hall review - a musical curiosity gets a rare airing

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The Merry Widow, English National Opera review - glitter but no sparkle

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The Monstrous Child, Royal Opera, Linbury Theatre review - fresh operatic mythology for teenagers

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latest in today

Reissue CDs Weekly: Hangman’s Beautiful Daughters

A raga-rock circularity. Finger cymbals. A distant, etiolated female vocal. A fuggy atmosphere. A kinship with Jefferson Airplane’s “Come Up The...

DVD/Blu Ray: The Elephant Man

David Lynch’s second feature, his only period movie, is as good as anything else he has ever done, building on the claustrophobia of his first,...

One Man, Two Guvnors, National Theatre at Home review – blis...

Armchair theatre-lovers rejoice. During the lockdown, the...

The Platform review - timely, violent and effective

Horror has always been a good vehicle for...

Album: Pokey LaFarge, Rock Bottom Rhapsody - a gourmet gumbo

Talk about a great big melting pot! The eighth studio album by the man born 36 ago as Andrew Heissler in Bloomington, Indiana, and known to the...

Lazy Susan, Soho Theatre On Demand review - sketch duo'...

You may have seen Lazy Susan's excellent BBC pilot last year; now a series has been commissioned from Freya Parker and Celeste Dring so we can...

ReMastered: Tricky Dicky and the Man in Black, Netflix revie...

Netflix’s ReMastered series is one of the streaming channel’s undersung gems. Launching in 2018, when Tricky Dick and the Man in...

The Turn of the Screw, Opera North, OperaVision review - cla...

Feeling stir-crazy right now? Imagine being confined to one room with a half-crazed housekeeper, two dysfunctional kids and two increasingly...

Mark Kermode's Secrets of Cinema, BBC Four review - the...

Mirrors and windows, looking at ourselves or out into the world, reflecting the culture or making it: compare and contrast. This was the...