tue 07/10/2025

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

theartsdesk in Paris - following in the footsteps of Gounod

Read more...

Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation

Read more...

Die Zauberflöte, Garsington Opera review - visually stimulating, conceptually confusing

Read more...

Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile

Read more...

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

Read more...

An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture

Read more...

Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

Read more...

Rinaldo, The English Concert, Barbican review - Bicket's band steals the spotlight

Read more...

Dead Man Walking, Barbican review - timely and devastating meditation on human violence and forgiveness

Read more...

Kaufmann, Damrau, Deutsch, Barbican review - bliss, if only you closed your eyes

Read more...

Jansen/Maisky/Argerich Trio, Barbican review - three classical titans give chamber music masterclass

Read more...

Orlando, La Nuova Musica, SJSS review - Handel painted in primary colours

Read more...

Louise Alder, James Baillieu, Wigmore Hall review - sensual heat thaws a winter's evening

Read more...

I, Object review - this operatic double-bill delivers just a single hit

Read more...

The Secret Theatre, Sam Wanamaker Playhouse review - a ferocious topical satire dressed up in period costume

Read more...

LSO, Alsop, Barbican review - Bernstein 100 opens not with celebrations but existential angst

Read more...

Pages

latest in today

'We are bowled over!' Thank you for your messages... ...
Susanna, Opera North review - hybrid staging of a Handel ora...

Turning Handel oratorio into opera can be a rewarding enterprise. Charles Edwards’ presentation of Joshua, over 15 years ago, for...

Scott, Irish Baroque Orchestra, Whelan, RIAM, Dublin review...

One miracle of musical performance is that a work you’ve loved for years can be revealed as never before in an outstanding interpretation. That...

Pop Will Eat Itself's 'Delete Everything' is...

Pop Will Eat Itself deserve to be more celebrated. The ...

Music Reissues Weekly: The Earlies - These Were The Earlies

The reappearance of These Were The Earlies for its 21st-anniversary is a surprise. Although The Earlies' debut LP received a maximum-...

France, LPO, Gardner, RFH review - the sound of other worlds

Even in the 21st century, it may not take that long for an outlandish literary experiment to jump genres and become an established musical classic...

Like Water for Chocolate, Royal Ballet review - splendid dan...

Christopher Wheeldon has mined a new seam of narrative pieces for the...

Rohtko, Barbican review - postmodern meditation on fake and...

It’s truly thrilling to see the Barbican embracing big concept long-form theatre again, seeking out productions that are as conceptually...