thu 10/07/2025

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

How Lonely Sits The City, Dunedin Consort online review - almost as good as being in the concert hall

Read more...

Allan Clayton, Stephanie Wake-Edwards, James Baillieu, Wigmore Hall review - consummate musicality and technique

Read more...

Louise Alder, Roger Vignoles, Wigmore Hall review - German Romanticism meets French eroticism

Read more...

Eugene Onegin, Komische Oper, OperaVision review - sensual and devastating

Read more...

Cosi fan tutte, English Touring Opera review - a blissful, uncomplicated delight

Read more...

The Taming of the Shrew, Sam Wanamaker Playhouse review - a confused and toothless mess

Read more...

prisoner of the state, Barbican review - beauty, but where is the drama?

Read more...

Der Freischütz, Barbican review - Gothic chills rooted in flesh and earth

Read more...

Zauberland, Linbury Theatre review - an adaptation that adds much and gains nothing

Read more...

theartsdesk at Itinéraire Baroque 2019 - a musical journey through the Périgord

Read more...

Il Segreto di Susanna/Iolanta, Opera Holland Park review - superb singing, mixed staging

Read more...

Trouble in Tahiti/A Dinner Engagement, Royal College of Music review - slick, witty and warm

Read more...

A Midsummer Night's Dream, Nevill Holt Opera review - sprinkled with musical fairy-dust

Read more...

Un ballo in maschera, Opera Holland Park review - evocative and sensationally sung

Read more...

Falstaff, The Grange Festival review - belly laughs and bags of fun

Read more...

Agrippina, Barbican review - over-the-top comic brilliance

Read more...

Pages

latest in today

'We are bowled over!' Thank you for your messages... ...
Insomnia, Channel 5 review - a chronicle of deaths foretold

A mixture of legal drama, medical mystery and psychological thriller with creepy supernatural overtones, Insomnia sometimes seems to be...

Album: Mark Stewart - The Fateful Symmetry

I met Mark Stewart once. It was on a platform at Clapham Junction, I wouldn’t normally approach a famous person like that, but I felt I had to pay...

First Person: country singer Tami Neilson on the superpower...

I was born Tamara Lee Neilson. I had an Uncle Kenny and an Aunt Dolly (who played guitar and banjo, respectively). I mean, did I really have a...

Album: Gwenno - Utopia

Stylistically, Utopia wears multiple faces. Opening cut “London 1757” drifts by like a twig floating upon an unhurried stream. Next, “...

Live Aid at 40: When Rock'n'Roll Took on the World...

“Bob’s not the kind of guy you can say no to,” said Sting, reminiscing about the origins of 1984’s Band Aid charity single “Do They Know It’s...

theartsdesk Q&A: actor Emma Mackey on 'Hot Milk...

Emma Mackey might have had her breakthrough role as a teenage tough cookie in Netflix's hit Series Sex Education (2019-20223), but there...

Blu-ray: A Hard Day's Night

Andrew Sarris, doyen of auteurist film critics, dubbed A Hard Day’s Night “the Citizen Kane of jukebox musicals”. Wild over-...

Sabrina Carpenter, Hyde Park BST review - a sexy, sparkly, s...

Has Sabrina Carpenter officially conquered London? A year after bestie and fellow Disney alumni Taylor Swift declared the “Summer of Sabrina”...