mon 18/02/2019

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

An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture

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Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

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Rinaldo, The English Concert, Barbican review - Bicket's band steals the spotlight

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Dead Man Walking, Barbican review - timely and devastating meditation on human violence and forgiveness

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Kaufmann, Damrau, Deutsch, Barbican review - bliss, if only you closed your eyes

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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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Ek, CBSO, Gražinytė-Tyla, Symphony Hall, Birmingham review -...

British concert audiences now know and love a great Lithuanian, one of the most communicative and individual conductors in the world today (note I...

The Lady from the Sea, Coronet Print Room review - freedom t...

Ellida (Pia Tjelta, pictured top left) has a choice to make. The outcome of this choice will bind her future to her past or her...

CD: Du Blonde - Lung Bread for Daddy

Beth Jeans Horton’s world seems to have been characterised by an over-supply of half-empty, small glasses of late – especially when it comes to...

Baptiste, BBC One review - detective from 'The Missing...

Is there an algorithm for writing this review? There seems to have been one used to create Baptiste, a spin-off from ...

Richard J Evans: Eric Hobsbawm - A Life in History review -...

This is an astonishing book: in its breadth, depth and detail and also in its almost palpable, and sometimes unpalatable, admiration of its...

Tana French: The Wych Elm review - a lucky man and his downf...

A Tana French crime novel is never just a thriller. Probably more acclaimed in the USA than the UK (she gets rave reviews in the New Yorker...

Reissue CDs Weekly: Manchester - A City United In Music

Full marks for shoehorning-in the names of city’s two major football teams into the title of ...

Q&A Special: Actor Bruno Ganz on playing Hitler

There is nothing quite like the Iffland-Ring in this country. The property of the Austrian state, for two centuries it has been awarded to the...