mon 31/08/2015

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 Magic Flute, Komische Oper Berlin, Edinburgh Festival Theatre

In 2007, a tiny British theatre company called 1927 staged their first ever show at the Edinburgh Fringe – the darkly reimagined collection of fairytales and fables Between the Devil and the Deep...

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Our Country's Good, National Theatre

The political wheel has turned full-circle. When Our Country’s Good was premiered in 1988, it was a barely-veiled protest against Thatcher’s slash-and-burn approach to the arts in general and arts...

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Prom 47 : BBCSO, Oramo/ Prom 48: AAM, Hill

It’s been glorious to hear so much Bach at this year’s Proms – most of it after dark, and still more of it for the most intimate of forces. On paper, the Academy of Ancient Music and BBC Singers’...

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Prom 25: Orfeo, EBS, Gardiner

English choirs and early music ensembles have a bad reputation for stiffness, formality – nothing wrong with the music, just the presentation. But with this dramatic and Italianate Orfeo, John Eliot...

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Prom 23: Verdi's Requiem, BBCSSO, Runnicles

A weekend of extremes at the Proms took us from stark solo Bach on Saturday to the massed forces of the BBC Scottish Symphony Orchestra and the chorus of the Deutsche Oper Berlin, gathered under...

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theartsdesk in Tuscany: Musical landscapes

“Treeless and shrubless but for some tufts of broom, these corrugated ridges formed a lunar landscape, pale and inhuman.” Lushly green and densely planted, today the view out over Tuscany’s Val d’...

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Prom 21: Alina Ibragimova plays Bach (II)

While Friday night’s triptych of solo Bach began and ended in a sombre, contemplative place, the arc created for the second sequence by pairing the final sonata for solo violin with the second and...

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Prom 19: Alina Ibragimova plays Bach

I can’t be alone in often leaving a Proms violin concerto convinced that the Bach encore was the best bit. The Royal Albert Hall is a chameleon space, capable of dwarfing the largest orchestra and...

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Saul, Glyndebourne

I can’t remember a time I felt so profoundly disquieted by a Handel staging. It’s partly that, as an oratorio, Saul breaks so many dramatic rules that lend the operas their reassuring structural...

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Measure for Measure, Shakespeare's Globe

If Simon McBurney’s Measure for Measure for the National Theatre and Declan Donnellan’s recent Cheek By Jowl production mined deep for darkness, Dominic Dromgoole’s for the Globe is content to skim...

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Albert Herring, Britten Theatre, Royal College of Music

Some of the best nights of opera to be had in London come courtesy of students. It’s not something we talk enough about, possibly because, with four major music colleges in the city, the quality is...

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The Importance of Being Earnest, Vaudeville Theatre

Geoffrey Rush has done it, Gyles Brandreth has done it, Stephen Fry came close to doing it, and now David Suchet is giving it a go – donning drag and a perpetually disgusted expression to play...

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The Corridor/The Cure, Linbury Studio Theatre

Thresholds are breached and barred, penetrated and sealed up in Harrison Birtwistle’s beguiling pair of mythological scenas The Corridor and The Cure. Originally commissioned by the Aldeburgh...

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Don Giovanni, Royal Opera

2013 was the year that pop fans were forced to ponder the ethics of “Blurred Lines”. In 2014 classical fans followed suit, when Kasper Holten’s Royal Opera Don Giovanni unapologetically redrew the...

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Flight, Opera Holland Park

Connections are missed and made in Jonathan Dove’s Flight – a giddy airport fantasy of what might be and what never was. Not yet 20 years old, this contemporary score is quite a departure from Opera...

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Phantasm, Elizabeth Kenny, Wigmore Hall

There’s an intimacy, an interiority, to music for viol consort that even the string quartet can’t match. The physical placement of the three members of Phantasm who opened this concert of music by...

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latest in today

Prom 60: Denk, San Francisco Symphony, Tilson Thomas

Glamorous visitors bring a crazy concerto, luminous Mahler, and a bit of ch...

The Trials of Jimmy Rose, ITV

Ray Winstone surprises as concerned grandad - but old habits die hard

We Made It: Ballet costumier Anna Willetts

The secrets of Birmingham Royal Ballet's costume department are unveil...

Murmel Murmel, King's Theatre, Edinburgh

Absurdist romp from Berlin's Volksbühne proves a hallucinatory if mela...

CD: Micachu & The Shapes - Good Sad Happy Bad

Avant-garde art-pop from erstwhile BAFTA nominee

Oliver Sacks remembered

The acclaimed neurologist and author Oliver Sacks has died aged 82

Prom 58: Kullervo, BBCSO, Oramo

Superlative performance of Sibelius's early epic coincides with Tolkie...

Reissue CDs Weekly: The Isley Brothers

The American soul great’s late-Sixties to mid-Eighties captured on a hefty,...

Missa Solemnis, SCO, Ticciati, Usher Hall, Edinburgh

Beethoven proves immune to Ticciati magic

CD: Public Image Ltd - What the World Needs Now...

PiL builds up a head of steam with its second comeback record