wed 28/02/2024

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

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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King Lear, Shakespeare's Globe - Nancy Meckler's Globe debut is unusually subdued

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Prom 33 review: Davidsen, Gerhardt, BBC Philharmonic, Storgårds - Nordic music glowing with colour

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Prom 14 review: BBCSSO, Wilson - illusion after illusion from musical conjurer

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Much Ado About Nothing, Shakespeare's Globe review - swaggering Shakespeare with a comic Spanish accent

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Prom 7 review: Weilerstein, BBCSO, Weilerstein - new cello concerto enthrals

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Queen Anne, Theatre Royal Haymarket review - slow, long and dull

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Out of Season, Hampstead Theatre review - banter as bullying

One island off the coast of Spain has more cultural oomph than all the rest put together. I’m talking about Ibiza, the sun-soaked, music-happy and...

Andy Parsons, Touring review - reasons to be cheerful...

In the middle of another age of austerity, a climate crisis and seemingly intractable international conflicts, it's cheering that a comic should...

Album: Yard Act - Where's My Utopia?

The best popular music tunes into the zeitgeist. It can reflect cultural currents, encourage them, or enable the public to turn away and...

'Migrations' String Quartet Weekend, National Conc...

It was chance that the National Concert Hall’s weekend of quartet events featuring responses to war and refugees should coincide with the second...

Drive to Survive, Season 6, Netflix review - F1 documentary...

When the first season of Drive to Survive launched on Netflix in 2019, it was greeted with suspicion by some in the Formula One paddock....

Shifters, Bush Theatre review - love will tear us apart agai...

For the past ten years, Black-British playwrights have been in the vanguard of innovation in the form and content of new writing. I’m thinking not...

Così fan tutte, Welsh National Opera review - relevance redu...

We can’t do without Così fan tutte; it’s an irresistible masterpiece. But it’s a thorn in the flesh of modern directors, who...

Driving Mum review - a dark comedy that has you laughing out...

Hilmar Oddsson’s award-winning film Driving Mum is pitch-perfect. Jon has spent the last 30 years looking after his domineering mother....

Manon Lescaut, English Touring Opera review - a nightmare in...

Opera in Britain is currently cursed by funders, politicians and ideologues – of right and left – who heartily detest the form. Alas, some...