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

How Lonely Sits The City, Dunedin Consort online review - almost as good as being in the concert hall

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Allan Clayton, Stephanie Wake-Edwards, James Baillieu, Wigmore Hall review - consummate musicality and technique

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Louise Alder, Roger Vignoles, Wigmore Hall review - German Romanticism meets French eroticism

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Eugene Onegin, Komische Oper, OperaVision review - sensual and devastating

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Cosi fan tutte, English Touring Opera review - a blissful, uncomplicated delight

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The Taming of the Shrew, Sam Wanamaker Playhouse review - a confused and toothless mess

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prisoner of the state, Barbican review - beauty, but where is the drama?

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Der Freischütz, Barbican review - Gothic chills rooted in flesh and earth

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Zauberland, Linbury Theatre review - an adaptation that adds much and gains nothing

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theartsdesk at Itinéraire Baroque 2019 - a musical journey through the Périgord

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Il Segreto di Susanna/Iolanta, Opera Holland Park review - superb singing, mixed staging

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Trouble in Tahiti/A Dinner Engagement, Royal College of Music review - slick, witty and warm

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A Midsummer Night's Dream, Nevill Holt Opera review - sprinkled with musical fairy-dust

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Un ballo in maschera, Opera Holland Park review - evocative and sensationally sung

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Falstaff, The Grange Festival review - belly laughs and bags of fun

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Agrippina, Barbican review - over-the-top comic brilliance

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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...