thu 16/10/2025

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

Giustino, Linbury Theatre review - a stylish account of a slight opera

Read more...

BBC Proms: Le Concert Spirituel, Niquet review - super-sized polyphonic rarities

Read more...

Faust, Royal Opera review - pure theatre in this solid revival

Read more...

Pygmalion, Early Opera Company, Curnyn, Middle Temple Hall review - Rameau magic outside the opera house

Read more...

Attacca Quartet, Kings Place review - bridging the centuries in sound

Read more...

The Marriage of Figaro, English National Opera review - long on laughs, short on kerb appeal

Read more...

La rondine, LSO, Pappano, Barbican review - sumptuous orchestral playing in an underrated score

Read more...

The Sound Voice Project, Linbury Theatre review - an art installation that has strayed into an opera house

Read more...

Kanneh-Mason, Sinfonia of London, Wilson, Barbican review - taking the roof off the Barbican

Read more...

Frang, LSO, Pappano, Barbican review - a concerto performance to treasure

Read more...

La traviata, Royal Opera review - a charismatic soprano in a serviceable revival

Read more...

Everest, Barbican review - a powerful operatic debut from Joby Talbot

Read more...

Werther, Royal Opera review - Kaufmann off form in this stiff revival

Read more...

Rigoletto, Opera Holland Park review - Verdi's Duke gets the Oxbridge treatment

Read more...

Il Trionfo del Tempo e del Disinganno, Academy of Ancient Music, Milton Court review - radiant and full of life

Read more...

Theodora, Arcangelo, Cohen, Barbican review - gloriously dark and sober

Read more...

Pages

latest in today

'We are bowled over!' Thank you for your messages... ...
The Last Dinner Party's 'From the Pyre' is as...

Before we get into it, reader, can you accept that The Last Dinner Party are a band born of privilege and high academic study? Of poshness,...

Kempf, Brno Philharmonic, Davies, Bridgewater Hall, Manchest...

Dennis Russell Davies and his musicians from the Czech...

Moroccan Gnawa comes to Manhattan with 'Saha Gnawa...

A mix of tradition and Afrofuturism, acoustic and electronic, east and west fumigating in a cauldron of rhythms, chants, solo explorations and...

Albert Herring, English National Opera review - a great come...

Britten’s Albert Herring is one of the great 20th century comic operas; only Puccini’s Gianni Schicchi and Barry’s The...

Iron Ladies review - working-class heroines of the Miners...

The enduring image of the 1984-1985 Miners' Strike is that of men standing arm in arm against police and of mass protests devolving into mayhem –...

Blu-ray: The Man in the White Suit

The best Ealing comedies are surely the three...

Solomon, OAE, Butt, QEH review - daft Biblical whitewashing...

Forty years ago, the Orchestra of the Age of Enlightenment was born, and I heard Handel’s Solomon in concert for the first time. Charles...

The Woman in Cabin 10 review - Scandi noir meets Agatha Chri...

A fizzy mystery cocktail with a twist and a splash, The Woman in Cabin 10, based on Ruth Ware’s bestseller, sails along like the sleek...