tue 02/06/2020

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

Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hot

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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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latest in today

DVD/Blu-ray: Parasite

So what exactly is all the fuss about? For those of us from a cinema-deprived area, it’s been a long wait for the homevideo release of this much...

First Person: Gabriel Prokofiev on 14 years of his Concerto...

For most people a turntable, or record player is used to play back old vinyls bought from a market or second hand store, or perhaps a carefully...

Philharmonia, Channel 4 review - death on the podium

Great idea to use a symphony orchestra as the basis for a TV drama, because all of human life is there. Not to mention death, since this...

Album: Sonic Boom - All Things Being Equal

Experiencing All Things Being Equal is akin to taking a trip through The Time Tunnel. Although the songs and the recordings on...

Matthew Kneale: Pilgrims review – adventures on the road to...

Some things really never change. After a blatant cheat perpetrated by a well-connected lout, one of the humblest pilgrims in Matthew Kneale’s band...

Moyra Davey: Index Cards review – fragments of the artist

Moyra Davey’s biographical note, included in Fitzcarraldo Editions’ copy of Index Cards, describes “a...

Reissue CDs Weekly: Edikanfo - The Pace Setters

Ghana was visited by two British musicians in the early Eighties. One was Mick Fleetwood, who recorded the Visitor album in Accra during...

Keiichiro Hirano: A Man review - the best kind of thriller

Keiichiro Hirano’s A Man has all the trappings of a ...

Blu-ray/DVD: Little Women

For the average female millennial, Greta Gerwig’s Little Women is the perfect film to watch in lockdown. Brought up on Winona Ryder’...

The Vast of Night review - perfectly paranoid

The Vast of Night’s premise scarcely guarantees originality. Non-...