sun 05/07/2015

Alexandra Coghlan

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

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...

Read more...

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...

Read more...

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...

Read more...

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...

Read more...

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...

Read more...

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...

Read more...

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...

Read more...

The Queen of Spades, English National Opera

The delicacy of its supernatural elements make Pushkin’s The Queen of Spades, as adapted by Tchaikovsky, a tricky proposition for any director. Do you go with the ghost story and risk losing your...

Read more...

The Beaux' Stratagem, National Theatre

Between Light Shining in Buckinghamshire and Everyman it was beginning to look like we were never going to get a proper, uncomplicated laugh in Rufus Norris’s National Theatre. Thank goodness...

Read more...

Tetzlaff, LSO, Harding, Barbican

With Kavakos, Faust, Shaham and Skride already been and gone, and Jansen, Ehnes, Bell and Ibragimova still to come, the LSO’s International Violin Festival has nothing left to prove. We’re not short...

Read more...

Poliuto, Glyndebourne Festival Opera

Fashion is a funny thing, in opera no less than the sartorial trappings that go with it (everything from tight, hipster trews to billowing ballgowns at last night's Glyndebourne season opening, in...

Read more...

Betrayal, I Fagiolini, The Village Underground

It’s not often in classical music that you find yourself queuing under a railway bridge in Shoreditch at 9pm (and still less often that the artistic experience inside merits the endeavour). But get...

Read more...

The Virtues of Things, Linbury Studio Theatre

How many words would you expect in an average libretto? 10,000? 15,000? Whatever that number is you can triple it and then some for The Virtues of Things – a new opera from Sally O’Reilly and Matt...

Read more...

Król Roger, Royal Opera

Let’s get one thing straight at the outset: Szymanowski’s 1926 opera Król Roger isn’t a lovely occasional oddity, a rarity whose appeal is largely novelty, or a dust-it-off-once-a-decade sort of...

Read more...

The Merchant of Venice, Shakespeare's Globe

There’s a certainty, a reassurance that comes with attending a Globe show. You know that however bad things get, however bloodied the stage at final curtain, however bruised the relationships on...

Read more...

ATTHIS, Linbury Studio Theatre

I do wish that arts institutions would stop using the word “immersive” when they simply mean “staged”. Just to be clear, there is nothing “immersive” about Netia Jones’s new staging of Georg...

Read more...

latest in today

Reissue CDs Weekly: Sex Pistols

Another outing for the seminal ‘Spunk’ bootleg

theartsdesk Q&A: Musician Richard Thompson

Folk-rock master on Kanye, songwriting, vagrants, cricket and much besides

Six of the best: Theatre

A bit of everything in theartsdesk's stage tips

Six of the best: Film

theartsdesk recommends the half-dozen top movies out now

Rock 'n' Roll America, BBC Four

The story of popular music's ground zero had Little Richard and a big...

Classical CDs Weekly: Bach, James Horner, Baltic Sea Youth P...

Baroque electronics, concert music from a film composer and a multinational...

Terminator Genisys

Schwarzenegger grins through a grim resurrection for the franchise

Measure for Measure, Shakespeare's Globe

Dromgoole lets the light into Shakespeare's darkest comedy in this new...

Zimerman, LSO, Rattle, Barbican

Young Brahms and old Dvořák in tragic vein

CD: Alternative TV - Opposing Forces

First for 14 years from punk original Mark Perry and band