sat 27/02/2021

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

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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Akhnaten, English National Opera review - still a mesmerising spectacle

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Anthropocene, Hackney Empire review - vivid soundscapes but not quite enough thrills

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War Requiem, English National Opera review - a striking spectacle, but oddly unmoving

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Simon Boccanegra, Royal Opera review - a timely revival of Verdi's political music-drama

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The Silver Tassie, BBCSO, Barbican review - a bracing memorial for the WW1 anniversary

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Romeo and Juliet, Barbican review - plenty of action but not enough words

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Solomon, Royal Opera review - an awkward compromise of a performance

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Götterdämmerung, Royal Opera review - a fiery finale to this ambiguous cycle

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Prom 15, Lewis, BBC Philharmonic, Gernon - a masterful Emperor took the musical laurels

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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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latest in today

Album: Jane Weaver - Flock

Flock ends with “Solarised”, a glorious five-plus minutes excursion into...

Judas and the Black Messiah review - powerful biopic

One of the sadnesses of covid is that films like Judas and the Black Messiah have been held over for release in the hope that...

Stand Up and Deliver, Channel 4 review - how to make a comic

Everyone (well, almost everyone) can tell a joke. But being a...

Typical, Soho Theatre online review - powerfully poetic and...

As the events of last year made clear, the police have a problem with...

Album: Blanck Mass - In Furneaux

John Benjamin Power (formerly half of Fuck Buttons) opens his new opus with glittering synth arpeggios – reminiscent of the Seventies...

Joseph Andras: Tomorrow They Won't Dare to Murder Us re...

Joseph Andras wastes no time. “Not a proud and forthright rain, no. A stingy rain. Mean. Playing dirty.” This is how his debut novel kicks off,...

Sherlock Holmes: The Case of the Hung Parliament review – ch...

I’ll admit, I’ve never been a fan of murder mysteries. Patience is...

Album: Alice Cooper - Detroit Stories

A decade ago, Alice Cooper reconnected with his roots. He created a sequel to his 1975 album Welcome to my Nightmare with Bob Ezrin, the...

Rachel Parris and Marcus Brigstocke's Tuesday Night Clu...

Lockdown has been mostly pants for live performers, comics included. There was that brief foray into open-air performances last summer, made even...

Sean Shibe, Wigmore Hall online review - persuasive and poig...

Returning to the Wigmore Hall for another socially distanced concert, Edinburgh-born...