tue 12/11/2024

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

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...

The Winter's Tale, Shakespeare's Globe review - clever concept never quite catches fire

Read more...

The Rake's Progress, Royal Academy of Music review - Hogarth's Rake enters the digital age

Read more...

La rondine, If Opera review - a bold opening gambit from a company changing the business of opera

Read more...

Sir John in Love, British Youth Opera review - a delicious end-of-summer treat

Read more...

Prom 19, Hallé, Elder review - cinematic drama, and plenty of it

Read more...

Mavra/Pierrot Lunaire, Linbury Theatre review - operatic madness tempered with plenty of method

Read more...

Opera Triple Bill, Royal Academy Opera review - three centuries of female suffering

Read more...

Pages

latest in today

Help to give theartsdesk a future!

It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

It followed some...

First Person: Alec Frank-Gemmill on reasons for another reco...

One former teacher of mine said of their recording of the Mozart horn concertos “I’m not really sure why I bothered”. Said...

Natalie Palamides: Weer, Soho Theatre review - a romcom of t...

Natalie Palamides doesn't do things by halves. Actually, the Los Angeles-based clown does just that in her inventive new show Weer ...

Amyl and the Sniffers, O2 Academy, Birmingham review - rowdy...

Amy Taylor and the rest of the Sniffers ambled onto the stage of Birmingham’s O2 Academy to a huge roar of approval from a packed and diverse...

Blu-ray: The Oblong Box

The Oblong Box is a phantom 1969 follow-up to Michael Reeves’ Witchfinder General, sharing star Vincent Price and much cast and...

Wolf Hall: The Mirror and the Light, BBC One review - handso...

“Previously on Wolf Hall…” It’s been nine years since Claire Foy memorably trembled her way to the block as Anne Boleyn,...

Andrej Power, LSO, Mäkelä, Barbican review - singing, shriek...

Out of innumerable Rite of Springs in half a century of concert-going, I’ll stick my neck out and say this was the most ferocious in...

Burnt Up Love, Finborough Theatre review - scorching new pla...

Mac is in prison for a long stretch. He is calm, contemplative almost...

Album: Tomorrow X Together - The Star Chapter: Sanctuary

South Korean quintet TXT's latest mini-album delivers six meticulously crafted tracks that showcase the group's evolving artistry through...

Bird review - travails of an unseen English tween

There’s a jolt or a surprise in almost every shot in Andrea Arnold’s Bird – her most impacted and energised depiction of underclass life...