sat 27/02/2021

alexandra coghlan

alexandra.coghlan's picture
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

Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation

Read more...

Die Zauberflöte, Garsington Opera review - visually stimulating, conceptually confusing

Read more...

Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile

Read more...

Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hot

Read more...

An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture

Read more...

Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

Read more...

Rinaldo, The English Concert, Barbican review - Bicket's band steals the spotlight

Read more...

Dead Man Walking, Barbican review - timely and devastating meditation on human violence and forgiveness

Read more...

Kaufmann, Damrau, Deutsch, Barbican review - bliss, if only you closed your eyes

Read more...

Jansen/Maisky/Argerich Trio, Barbican review - three classical titans give chamber music masterclass

Read more...

Orlando, La Nuova Musica, SJSS review - Handel painted in primary colours

Read more...

Louise Alder, James Baillieu, Wigmore Hall review - sensual heat thaws a winter's evening

Read more...

I, Object review - this operatic double-bill delivers just a single hit

Read more...

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

Read more...

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

Read more...

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

Read more...

Pages

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...