thu 21/11/2024

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

Anthropocene, Hackney Empire review - vivid soundscapes but not quite enough thrills

Read more...

War Requiem, English National Opera review - a striking spectacle, but oddly unmoving

Read more...

Simon Boccanegra, Royal Opera review - a timely revival of Verdi's political music-drama

Read more...

The Silver Tassie, BBCSO, Barbican review - a bracing memorial for the WW1 anniversary

Read more...

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...

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...

Interview: rising star Chloe Savage on the Arctic, outer spa...

How old were you when you first had an image of the Arctic? When you first had that image, what was it that most resonated? Was it its remoteness...

Album: FaithNYC - Love is a Wish Away

FaithNYC is a vehicle for the singer and songwriter Felice Rosser, an original rooted in reggae...

Perianes, Orchestre Symphonique de Montréal, Payare, Barbica...

When the Venezuelan Rafael Payare was appointed as conductor of the Orchestre Symphonique...

English Teacher, Queen Margaret Union, Glasgow review - Merc...

Props designed like flowers were scattered across the QMU stage for English Teacher's performance. A fitting choice given the Leeds group are...

Kemah Bob, Soho Theatre review - Thailand, massage and menta...

Kemah Bob is a regular on television and radio panel shows and well established on the comedy circuit, but Miss Fortunate is her full-...

[title of show], Southwark Playhouse review - two guys and t...

Not just a backstage musical, a backroom musical!

In the...

Album: Father John Misty - Mahashmashana

The word “mahashmashana” – महामशान in Sanskrit – translates as “great burying ground.” Co-opted as the title of Josh Tillman’s sixth album as...

La Serenissima, Wigmore Hall review - an Italian menu to sav...

For 30 years, La Serenissima have re-mapped the landscape of the Italian Baroque repertoire so that its towering figures, notably Vivaldi, no...

Jon Fosse: Morning and Evening review - after thoughts

Jon Fosse talks a lot about thinking. He also thinks – hard – about talking. His prolific and award-winning career in poetry, prose, and drama,...