fri 19/08/2022

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

latest in today

theartsdesk at the Kilkenny Arts Festival 2022 - a safe spa...

Essay-writing can be a great art, at least when executed by Hubert Butler of Kilkenny, on a par - whether you know his writing or not, and you...

The Trials, Donmar Warehouse review - chillingly compelling

Dystopian theatre takes many forms – but this is the first which is a jury-room drama. Dawn King has previously explored the...

Mingus Dynasty, Ronnie Scott's review - official keeper...

Very good things have come to pass as a result the Mingus Centennial in April this year. A light has been been shone not just on the...

Edinburgh Fringe 2022 reviews: Jake Lambert / Bella Hull / J...

Jake Lambert, Pleasance Courtyard ...

Album: Aitch - Close to Home

22 is a pretty young age to be jaded. But this album starts out with Mancunian rapper Aitch detailing how tough it is at the top, and how...

Prom 40, Moore, RPO, Petrenko review - orchestral clarity, a...

It does need saying: the RPO may receive less frequent plaudits than some of their London peers, but this is a fine and wonderfully responsive...

Wonderville Magic and Cabaret - fast-paced show delivers the...

There’s nothing quite like magic, live, up close and personal. Sure there are the TV spectaculars, the casino resort mega-shows and...

Salome, Bergen Philharmonic Orchestra, Gardner, Edinburgh In...

It is quite some years, if not decades, since the Edinburgh International Festival had any claim to be a festival of staged opera. This year we...

Edinburgh Fringe 2022 reviews: Hal Cruttenden / Zach Zucker...

 

Hal Cruttenden, Pleasance Courtyard ...