sat 14/06/2025

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

How Lonely Sits The City, Dunedin Consort online review - almost as good as being in the concert hall

Read more...

Allan Clayton, Stephanie Wake-Edwards, James Baillieu, Wigmore Hall review - consummate musicality and technique

Read more...

Louise Alder, Roger Vignoles, Wigmore Hall review - German Romanticism meets French eroticism

Read more...

Eugene Onegin, Komische Oper, OperaVision review - sensual and devastating

Read more...

Cosi fan tutte, English Touring Opera review - a blissful, uncomplicated delight

Read more...

The Taming of the Shrew, Sam Wanamaker Playhouse review - a confused and toothless mess

Read more...

prisoner of the state, Barbican review - beauty, but where is the drama?

Read more...

Der Freischütz, Barbican review - Gothic chills rooted in flesh and earth

Read more...

Zauberland, Linbury Theatre review - an adaptation that adds much and gains nothing

Read more...

theartsdesk at Itinéraire Baroque 2019 - a musical journey through the Périgord

Read more...

Il Segreto di Susanna/Iolanta, Opera Holland Park review - superb singing, mixed staging

Read more...

Trouble in Tahiti/A Dinner Engagement, Royal College of Music review - slick, witty and warm

Read more...

A Midsummer Night's Dream, Nevill Holt Opera review - sprinkled with musical fairy-dust

Read more...

Un ballo in maschera, Opera Holland Park review - evocative and sensationally sung

Read more...

Falstaff, The Grange Festival review - belly laughs and bags of fun

Read more...

Agrippina, Barbican review - over-the-top comic brilliance

Read more...

Pages

latest in today

Help to give theartsdesk a future!

It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

It followed some...

'We are bowled over!' Thank you for your messages... ...
Tornado review - samurai swordswoman takes Scotland by storm

The opening images of Tornado are striking. A wild-haired young woman in Japanese peasant garb runs for her life through a barren forest...

Hamlet Hail to the Thief, RSC, Stratford review - Radiohead...

The safe transfer of power in post-war Western democracies was once a given. The homely Pickfords Removals van outside Number Ten...

Lollipop review - a family torn apart

On leaving prison, Lollipop’s thirtyish single mum Molly discovers that reclaiming her kids from social care is akin to doing lengths in...

Rachel Jones: Gated Canyons, Dulwich Picture Gallery review...

I first came across Rachel Jones in 2021 at the Hayward Gallery’s painting show Mixing it Up: Painting Today. I was blown away by the...

Album: The Young Gods - Appear Disappear

Swiss electro-rockers, Young Gods have been around for 40 years, but this in no way should suggest that they’ve gone soft in their old age. These...

Jane Austen Wrecked My Life review - persuading us that the...

Do the French do irony? Well, was Astérix a Gaul? Obviously they do, and do it pretty well to judge by many of their movies down the...

The King of Pangea, King's Head Theatre review - grief...

There’s an old theatre joke. “The electric chair is too good for a monster like that. They should send him out of town with a new...

Album: Sam Binga - Sam Binga Presents Club Orthodontics

When I was writing the introduction to my book, Bass, Mids, Tops: An Oral History of Soundsystem Culture, I came up with a phrase, which...