fri 23/02/2024

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

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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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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King Lear, Almeida Theatre review - Danny Sapani dazzles in...

Less than three years after her magnificent Macbeth, Yaël Farber returns to the Almeida with another...

Bill Bailey: Thoughtifier, Brighton Centre review - offbeat...

I first saw Bill Bailey at least 30 years ago in the cabaret tent at...

Hadestown, Lyric Theatre review - soul-stirring musical glor...

Doom and gloom, we are told, may have abounded in the classical underworld, but Hadestown suggests otherwise. Returning to...

Tom Chatfield: Wise Animals review - on the changing world

Consider a chimp peeling a stick which it will poke into a termite nest. It strikes us as a human gesture. Our primate cousin is fashioning a tool...

Album: Aziza Brahim - Mawja

Glitterbeat is home to a wildly eclectic and reliably brilliant world of...

An Enemy of the People, Duke of York's Theatre - perfor...

Real life is a helluva lot scarier right now than you might guess from the performative theatrics on display in the new...

Double Feature, Hampstead Theatre review - with directors li...

It’s awards season in the film world, which means that we’re currently swamped by hyperbolic shows of love and respect – actors and their...

theartsdesk Q&A: Wim Wenders on 'Perfect Days'

Wim Wenders’ latest narrative film Perfect Days might seem an uncommonly mellow work by the maker of Alice in the Cities (...

Album: Laetitia Sadier - Rooting for Love

It must be kind of unreal living in the Stereolab universe.

A band of geeky...