thu 23/11/2017

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

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...

Written On Skin, Melos Sinfonia, LSO St Luke's review - an ambitious musical achievement

Read more...

Hansel and Gretel, Pop-Up Opera review - salty-sweet production takes wry pleasure in classic fairytale

Read more...

Prom 51 review: Perianes, BBCSO, Oramo - brightly coloured musical postcards

Read more...

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

Read more...

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

Read more...

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

Read more...

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

Read more...

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

Read more...

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

Read more...

Hamlet, Harold Pinter Theatre review - dislocatingly fresh makeover

Read more...

A Midsummer Night's Dream, Snape Maltings

Read more...

Radamisto, Guildhall School, Milton Court

Read more...

Twelfth Night, Shakespeare's Globe review - Emma Rice goes out with a bang

Read more...

Ariodante, The English Concert, Bicket, Barbican

Read more...

Pages

latest in today

Remembering Dmitri Hvorostovsky (1962-2017)

A certain online scandalmonger and coffin-chaser likes to preface news of deaths in the musical world with "sadness" or "tragedy", usually when...

Everybody's Talking About Jamie, Apollo Theatre review...

Everybody’s been talking about Everybody’s Talking About Jamie since its Sheffield Crucible debut earlier this year. It’s unusual to see...

Godless, Netflix review – a proper wild west ride

There’s a storm heading to La Belle, the small forgotten town in the heart of the...

Bad Roads, Royal Court, review – memorably unsettling

War is morally acidic: it dissolves social rules, loosens inhibitions and gives permission to men to behave like animals. And the people who have...

Suburbicon review - George Clooney's jarring pastiche o...

If you’re hoping for an incisive look at Fifties American ...

CD: Martin Hayes Quartet - The Blue Room

Recorded at beautiful Bantry House in the far south-west of ...

Battle of the Sexes review - Emma Stone aces it as Billie Je...

This is a heartbreaking week for women’s tennis. The death from cancer of Jana Novotna at only 49 evokes memories of one of Wimbledon’s more...

Hough, Basle CO, Holliger, Cadogan Hall review - heavenly le...

Before the age of photography, people and places were recorded in ink or paint or sound. The process of recording was not instant, could not be...

The Machines of Steven Pippin, The Edge, University of Bath...

Our universe seems to be in a state of equilibrium, neither collapsing in on itself nor expanding ad infinitum. The metaphor used by...