thu 14/08/2025

alexandra coghlan

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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

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

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

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

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

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

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

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The Comedy of Errors, RSC, Barbican review - Shakespearean Christmas panto

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Die schöne Müllerin and The Alehouse Sessions, Middle Temple Hall review - overflowing musical energy and joy

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The Magic Flute, Royal Opera review - all but a guarantee of a great night out

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Chiejina, Sinfonia of London, Wilson, BBC Proms review - a musical arrival for a special favourite

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Ólafsson, Philharmonia, Järvi, BBC Proms review - a ravishing Proms debut

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Kolesnikov, Aurora Orchestra, Collon, BBC Proms review - dazzling musicianship and insight

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Hansel and Gretel, British Youth Opera review - chaotic rewrite of a classic opera misses the mark

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The Two Character Play, Hampstead Theatre review - tender, poetic and piercingly cruel

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Current, Rising, Royal Opera House review - a joyful celebration of storytelling possibility

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Brian Elias Focus Day, Concert 1, Wigmore Hall online review - portrait of the artist in miniature

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latest in today

'We are bowled over!' Thank you for your messages... ...
The Two Gentlemen of Verona, RSC, Stratford review - not qui...

I have two guilty secrets about the theatre – okay, two I’m prepared to own up to right here, right now. I quite enjoy some...

Orpheus and Eurydice, Opera Queensland/SCO, Edinburgh Intern...

There’s a lot to shout about in this Orpheus, especially the way it looks. In a thin year for staged opera at the Edinburgh International...

Edinburgh Fringe 2025 reviews - Eric Rushton / Bella Hull

Eric Rushton, Monkey Barrel ...

Edinburgh Fringe 2025 reviews: The Horse of Jenin / Nowhere

The Horse of Jenin, Pleasance Dome ...

Beating Hearts review - kiss kiss, slam slam

Andrew Garfield was 29 when he played the teenage Spiderman and Jennifer Grey was 27 when she took on a decade-younger-than-her character called “...

Album: Emma Smith - Bitter Orange

Emma Smith, one time Puppini Sister, has established herself over the past decade or so as one of the UK’s most compelling jazz singers, now...

BBC Proms: Anoushka Shankar 'Chapters' review - so...

You can't explain stage presence like Anoushka Shankar’s. It just "is". When she steps out in front of a completely packed Royal Albert Hall, and...

Elschenbroich, Grynyuk / Fibonacci Quartet, Edinburgh Intern...

Leonard Elschenbroich and Alexei Grynyuk crafted a fine programme for their EIF recital, centring around Brahms’ relationship with the Schumanns....

Edinburgh Fringe 2025 reviews: The Fit Prince / Undersigned

The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)), Pleasance...