tue 25/06/2019

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

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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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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