sat 24/02/2024

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

Romeo and Juliet, Barbican review - plenty of action but not enough words

Read more...

Solomon, Royal Opera review - an awkward compromise of a performance

Read more...

Götterdämmerung, Royal Opera review - a fiery finale to this ambiguous cycle

Read more...

Prom 15, Lewis, BBC Philharmonic, Gernon - a masterful Emperor took the musical laurels

Read more...

The Winter's Tale, Shakespeare's Globe review - a chilly tale for a time of austerity

Read more...

Partenope, Iford Arts review - a midsummer night's dream of a Handel comedy

Read more...

theartsdesk in Paris - following in the footsteps of Gounod

Read more...

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...

Pages

latest in today

Sánchez, National Symphony Orchestra, Martín, National Conce...

Ravel’s Boléro, however well you think you know it, usually wows in concert with its disconcerting mix of sensuality, fun and violence....

Sargent and Fashion, Tate Britain review - portraiture as a...

At the turn of the 20th century, London’s smart set queued up to get their...

Uproar, Rafferty, Royal Welsh College, Cardiff review - a ra...

It’s not often one comes out of a concert of mainly new works with a spring in one’s step. A sigh of relief is rather more usual. But this concert...

The Big Life, Stratford East review - big-hearted musical br...

Is there a healthier sound than that of laughter ringing round a theatre? 

There are plenty of opportunities to...

Album: Everything Everything - Mountainhead

There are few bands who can claim to operate in a similar visionary style as Everything Everything. Since their 2010 debut Man Alive, the...

Marx in London, Scottish Opera review - the humour of histor...

An opera about a day in the life of Karl Marx doesn’t exactly...

Hir, Park Theatre review - incendiary production for Taylor...

In 2017, two years after Hir premiered, Taylor Mac was awarded a “Genius Grant” and nominated for a Pulitzer Prize for drama....

Memory review - love, dementia and truth

Procul Harum’s “A Whiter Shade of Pale” is given a new lease on life in...

Samuel Takes a Break... in Male Dungeon No. 5 after a long b...

You do not need to be Einstein to feel it. If the only dimension missing is time, 75% of a place’s identity can invade your very being, hollow you...

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...