wed 23/09/2020

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

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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The Secret Theatre, Sam Wanamaker Playhouse review - a ferocious topical satire dressed up in period costume

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LSO, Alsop, Barbican review - Bernstein 100 opens not with celebrations but existential angst

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Orpheus Caledonius, Brighton Early Music Festival review - a thrilling meeting of musical clans

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Written On Skin, Melos Sinfonia, LSO St Luke's review - an ambitious musical achievement

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Hansel and Gretel, Pop-Up Opera review - salty-sweet production takes wry pleasure in classic fairytale

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Prom 51 review: Perianes, BBCSO, Oramo - brightly coloured musical postcards

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