thu 04/09/2025

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

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...

La bella dormente nel bosco/L'enfant et les sortilèges, Royal College of Music review - pure theatrical magic

Read more...

Pages

latest in today

'We are bowled over!' Thank you for your messages... ...
Laura Benanti: Nobody Cares, Underbelly Boulevard Soho revie...

Laura Benanti has been enchanting Broadway audiences for several decades now, and London has this week been let in on the secret that recently...

The Paper, Sky Max review - a spinoff of the US Office worth...

Fans of the US version of The Office may wonder what happened to the assorted oddballs of Dunder Mifflin, proud creators of...

Edinburgh Psych Fest 2025 review - eclectic and experimental

Now in its third year, Edinburgh Psych Fest returned to multiple venues in the old town and the city’s southside for 2025; namely Summerhall,...

The Pitchfork Disney, King's Head Theatre review - blaz...

Ever wondered if there was one moment when in-yer-face theatre started? Well, yes there was; there was one play that kicked off that whole 1990s...

Supersonic Festival 2025, Birmingham review - a deep dive in...

The annual Supersonic Festival is a major jewel in ...

Album: Faithless - Champion Sound

Although they haven’t had a hit single in almost 20 years, Faithless remain a potent commercial force, continuing to rack up festival headline...

The Guest, BBC One review - be careful what you wish for

Why isn’t Eve Myles a superstar? Though well known for her appearances in the likes of Torchwood, Broadchurch and the brilliant...

Born with Teeth, Wyndham's Theatre review - electric sp...

The title refers to a line in Henry VI, Part III: the future Richard III boasts that midwives cried, "Oh Jesus bless us, he is born with...

Album: Saint Etienne - International

International is Saint Etienne’s 13th album. It is their last. According to the promotional material, it was written while recording...