wed 12/12/2018

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

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

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

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latest in today

Gianni Schicchi/Suor Angelica, RNCM, Manchester review – mus...

The Royal Northern College of Music’s December opera production was the useful double bill of Suor Angelica and Gianni Schicchi ...

The Double Dealer, Orange Tree Theatre review - high spirits...

It's been 40 years since The Double Dealer last had a major airing (indeed, perhaps any airing) in London, so on the basis of novelty...

Mrs Wilson finale, BBC One review - stranger than fiction

As the priest said, "Understanding comes first, then forgiveness". Thus the rather enjoyable (if slightly overstretched) Mrs Wilson came...

CD: Aloe Blacc - Christmas Funk

Egbert Nathaniel Dawkins III – Aloe Blacc – is one shrewd dude. He's extremely adept at reaching out beyond the confines of his natural beat of...

Thomas Adès, Wigmore Hall review - playful and erratic Janáč...

Janáček has been an abiding passion for Thomas Adès. As both composer and performer, Adès revels in the whimsical and the absurd, and he finds...

Sir Cliff Richard: 60 Years in Public and in Private, ITV re...

It was when he was on holiday at his agreeable estate in the Algarve in August 2014 that...

Spider-Man: Into the Spider-Verse review - a new hope for th...

After Sam Raimi’s original mixed-bag trilogy, Andrew Garfield’s all too familiar outing as the webslinger, and last year’s Spider-Man:...

Hey Colossus, Centrala, Birmingham review - lighting the exp...

Capsule is the Birmingham outfit that is good enough to...

theartsdesk on Vinyl 45: Ian Dury, Janis Joplin, Oneohtrix P...

It’s the season of giving so theartsdesk on Vinyl feels compelled to draw your attention to Unicef’s Blue...

CD: Mary Poppins Returns - Original Motion Picture Soundtrac...

This is a soundtrack with vast shoes to fill. Frozen, The Lion King and Aladdin may be the best-selling Disney...