tue 27/09/2016

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

The Alchemist, RSC, Barbican

The confidence trick to end all tricks, Ben Jonson’s The Alchemist is so utterly recognisable, so clearly contemporary, that to update the setting feels a bit like underlining the point in red pen....

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Doctor Faustus, RSC, Barbican Theatre

What price a human soul? That’s the question Marlowe’s Doctor Faustus asks – a question whose answers are rooted in faith and theology. But in a society with little use for faith and still less for...

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Norma, Royal Opera

You wait ages for a Norma, and then three come along at once. English National Opera saw something nasty in the woodshed back in February with their 19th-century American take on Bellini, while up at...

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The Inn At Lydda, Sam Wanamaker Playhouse

Part Biblical melodrama, part Carry On Up The Colosseum, with a bit of Horrible Histories thrown in for good measure, it’s hard to see how John Wolfson’s wildly uneven The Inn at Lydda graduated from...

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Owen Wingrave, British Youth Opera, Peacock Theatre

Owen Wingrave is the Britten opera that always comes with a caveat, an apology. Dramatically flawed (a problem partially, but by no means entirely, accounted for by its genesis as a television opera...

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Prom 68: Semiramide, OAE, Elder

Between the Berlin Philharmonic, Leipzig Gewandhaus Orchestra and Simón Bolivar Symphony Orchestra it has been a big week at the Proms, in every sense. Scope and scale have been the watchwords for...

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Prom 66: Berlin Philharmonic, Rattle

The BBC Proms is perhaps the only music festival in the world that would (or could) have programmed performances of Steve Reich in a Peckham car-park and Brahms by the Berlin Philharmonic within a...

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Prom 63: B Minor Mass, Les Arts Florissants, Christie

The BBC Proms is the largest classical music festival in the world – an event whose ambition, accessibility and breadth wouldn’t be possible without the Royal Albert Hall and its capacity of well...

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Prom 62: Skride, BBCSO, Young

Branding, as any marketing manager will tell you, is everything when it comes to selling, and when it comes to selling, classical music is no different from cars, cornflakes or shampoo. It explains...

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Prom 55: Hannigan, CBSO, Gražinytė-Tyla

If ever there was a Prom to put London’s classical crowd in their place, to remind us (as those outside the capital so frequently and justifiably do) that the city isn’t the be-all and end-all of...

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A Midsummer Night's Dream, Glyndebourne

Britten’s A Midsummer Night’s Dream is too other-worldly to have anything as mortal as a musical heartbeat. Pulsing through it instead are musical quivers, jolts of eerie energy first heard in the...

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Prom 27: Kuusisto, BBCSSO, Dausgaard

Concert halls, as Gregg Wallace might observe if he ever went to one, don’t come much bigger than the Royal Albert Hall, nor violin concertos than the Tchaikovsky. Faced with this awesome combination...

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Prom 15: Chen, BBCSO, BBCSC, Davis

Programming a concert is a tricky business. Programming an entire Proms season almost unthinkably difficult. But even allowing for the odd evening of leftovers, those artists, anniversaries and...

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Jesus Christ Superstar, Regent's Park Open Air Theatre

London’s West End may be the envy of the world, but when it comes to musicals the big-hitting theatres might have to up their game a bit if they’re to keep up with the city’s rival offerings. Compare...

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The Brook Street Band, Wigmore Hall

Happy returns of various kinds last night at the Wigmore Hall, where hall regulars the Brook Street Band (violins Rachel Harris and Farran Scott, cellist Tatty Theo and harpsichordist Carolyn Gibley...

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The Creation, Garsington Opera

Once confined to the concert hall, it’s a rare oratorio these days that doesn’t duck under the fence and sneak into the opera house. Bach’s Passions and most of Handel’s religious works have already...

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