alexandra.coghlan

alexandra coghlan

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

Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation Tuesday, 12 June 2018 Read more...	Die Zauberflöte, Garsington Opera review - visually stimulating, conceptually confusing Friday, 01 June 2018 Read more...
Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile Thursday, 17 May 2018 Read more...	Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hot Friday, 11 May 2018 Read more...
An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture Friday, 04 May 2018 Read more...	Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death Monday, 19 March 2018 Read more...
Rinaldo, The English Concert, Barbican review - Bicket's band steals the spotlight Wednesday, 14 March 2018 Read more...	Dead Man Walking, Barbican review - timely and devastating meditation on human violence and forgiveness Wednesday, 21 February 2018 Read more...
Kaufmann, Damrau, Deutsch, Barbican review - bliss, if only you closed your eyes Saturday, 17 February 2018 Read more...	Jansen/Maisky/Argerich Trio, Barbican review - three classical titans give chamber music masterclass Wednesday, 07 February 2018 Read more...
Orlando, La Nuova Musica, SJSS review - Handel painted in primary colours Friday, 02 February 2018 Read more...	Louise Alder, James Baillieu, Wigmore Hall review - sensual heat thaws a winter's evening Monday, 22 January 2018 Read more...
I, Object review - this operatic double-bill delivers just a single hit Saturday, 02 December 2017 Read more...	The Secret Theatre, Sam Wanamaker Playhouse review - a ferocious topical satire dressed up in period costume Friday, 24 November 2017 Read more...
LSO, Alsop, Barbican review - Bernstein 100 opens not with celebrations but existential angst Monday, 06 November 2017 Read more...	Orpheus Caledonius, Brighton Early Music Festival review - a thrilling meeting of musical clans Saturday, 28 October 2017 Read more...

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