tue 16/08/2022

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

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Room, Edinburgh International Festival 2022 review - decaden...

"I feel I owe you an explanation." That much James Thierrée concedes partway through his sprawling, freewheeling, dream-like, hallucinatory ...

Edinburgh Fringe 2022 reviews: Randy Feltface / Sarah Keywor...

Randy Feltface, Assembly George Square ...

Blu-ray: The Saphead

Buster Keaton was familar to many for a series of two-reel shorts made from 1917 onwards, but The Saphead, from 1920, was his first...

La Voix humaine/Les Mamelles de Tirésias, Glyndebourne revie...

“Variety is the spice of life! Vive la difference!,” chirrups the ensemble at the end of this giddying double bill. And there could hardly be more...

Germany / The 1920s / New Objectivity / August Sander, Centr...

The businessman in Heinrich Maria Davringhausen’s Der Schieber (The Profiteer), 1920-1921 sits several floors above the city streets,...

Edinburgh Fringe 2022 reviews: Ania Magliano / Leo Reich / C...

Ania Magliano, Pleasance Courtyard ...

Chineke! Chamber Ensemble / Martineau & Osborne / SCO, M...

What happens when great musicians play weak music? I couldn’t help but think about that while I listened to the musicians of Chineke! Chamber...

Album: Loudon Wainwright III - Lifetime Achievement

Celebrating, if that is the right word, his 75th year, Loudon Wainwright III offers us his 26th studio album in 52...

Music Reissues Weekly: The Telstar Story, The Heinz Sessions...

“Telstar” was released 60 years ago this week. On 17 August 1962...