thu 27/03/2025

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

Prom 51 review: Perianes, BBCSO, Oramo - brightly coloured musical postcards

Read more...

King Lear, Shakespeare's Globe - Nancy Meckler's Globe debut is unusually subdued

Read more...

Prom 33 review: Davidsen, Gerhardt, BBC Philharmonic, Storgårds - Nordic music glowing with colour

Read more...

Prom 14 review: BBCSSO, Wilson - illusion after illusion from musical conjurer

Read more...

Much Ado About Nothing, Shakespeare's Globe review - swaggering Shakespeare with a comic Spanish accent

Read more...

Prom 7 review: Weilerstein, BBCSO, Weilerstein - new cello concerto enthrals

Read more...

Queen Anne, Theatre Royal Haymarket review - slow, long and dull

Read more...

Hamlet, Harold Pinter Theatre review - dislocatingly fresh makeover

Read more...

A Midsummer Night's Dream, Snape Maltings

Read more...

Radamisto, Guildhall School, Milton Court

Read more...

Twelfth Night, Shakespeare's Globe review - Emma Rice goes out with a bang

Read more...

Ariodante, The English Concert, Bicket, Barbican

Read more...

Monteverdi Vespers, Vox Luminis, FBC, St John's Smith Square

Read more...

Lise Davidsen, James Baillieu, Wigmore Hall

Read more...

in vain, London Sinfonietta, Lubman, Royal Festival Hall

Read more...

Ormisda, St George's Hanover Square

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...

La finta giardiniera, The Mozartists, Cadogan Hall review -...

Just now, the notion of a long-term project that concludes in 2041 sounds like an optimistic bet on the far future worthy of some 18th-century...

La Cocina review - New York restaurant drama lingers too lon...

La Cocina is one of those films that cuts an excellent trailer, succinctly delivering just enough characters, plot and visual...

Album: Alison Krauss & Union Station - Arcadia

It’s been 14 years since Alison Krauss and Union Station released an album – 2011’s Paper Aeroplane. The world’s shed a few skins since...

Batsashvili, Hallé, Wong, Bridgewater Hall, Manchester revie...

Mariam Batsashvili, the young virtuosa pianist from Georgia, is a star. No doubt about that. Trained at the Liszt Academy in Weimar and winner of...

Blu-ray: Lifeforce

Tobe Hooper changed cinema with The Texas Chain Saw Massacre (1974) for pennies in rancid Southern heat, but came closest to a mainstream...

Der fliegende Holländer, Irish National Opera review - saili...

So much looked promising for Irish National Opera’s first Wagner: the casting, certainly, the conductor – Music Director Fergus Sheil knows and...

The Potato Lab, Netflix review - a K-drama with heart and wi...

When the world’s darkness is too much, there is a Netflix rabbit-hole you can disappear down to a kinder place: the...

Lauren Mayberry, Barrowland, Glasgow review - solo star stay...

It took until the last song before Lauren Mayberry started to well up onstage, which was good going. The singer had mentioned early on the...

Album: Toria Wooff - Toria Wooff

On the cover of her eponymous debut album, the Bolton-raised Toria Wooff reclines on a church pew located in Stanley Palace, a 16th-century...