Alexandra Coghlan
Classical Music Journalist at Freelance
Classical music journalist. Occasionally also writes about books, plays and films. Author, Carols From King's, Ebury, 2016.
Articles
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1 week ago |
thetablet.co.uk | Alexandra Coghlan
Feel the Sound at the Barbican Centre, London Sound is an aggressor when you live in a city. It invades buses and trains in a shriek of TikTok videos and phone calls, pushes into our homes in the whir of the bin lorry, the bang and screech of our neighbour’s building work. It swells in restaurants, rustles and coughs in church. A new exhibition at the Barbican Centre promises to “transform how we think about sound” – but it ends up just adding to the noise.
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2 weeks ago |
theartsdesk.com | Alexandra Coghlan
“Satan come to me!” The Devil doesn’t so much appear in David McVicar’s Faust as reveal himself to have always been there. We discover him – travelling trunk and brandy glass to hand, lazy smile on his lips – considering the interior of designer Charles Edwards’ magnificent church in Gounod’s own Second Empire Paris. And why not?
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2 weeks ago |
theartsdesk.com | Alexandra Coghlan
With French baroque opera all but banished from the UK’s major opera companies, it’s left to concert halls and country houses to fill the void. There’s a full-length treat ahead this summer with Rameau’s opéra-ballet Les Indes Galantes at Hampshire’s Grange Festival, but first Temple Music served up an amuse-bouche from Christian Curnyn and his Early Opera Company.
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1 month ago |
criticscircle.org.uk | Alexandra Coghlan
Pimpinone and Serpetta, photo © Camilla GreenwellA maidservant on the make and her foolish-fond employer – you barely need to fill in the details. But in Pimpinone Telemann takes a classic operatic gambit and pours so much musical verve, invention and heart into the slenderest of plots that it feels absolutely fresh.
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1 month ago |
inews.co.uk | Alexandra Coghlan
Previously, on Wagner’s Ring Cycle… When we left Barrie Kosky’s brand-new Das Rheingold for the Royal Opera back in 2023, all was rainbows. Wotan and his dysfunctional family of gods had a new palace, Fafner the giant had the all-powerful ring, and – barring a small matter of a dead brother, an angry dwarf and the Rhinemaidens’ curse – things were about as rosy as they get in the Australian director’s charry apocalyptic landscape.
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RT @ahistoryinart: In 1974, David Hockney accepted the commission to design the costumes and set for Igor Stravinsky's 'The Rake's Progress…
Anyone in Cambridge tonight or London tomorrow, coming along to the Academy of Ancient Music's Art of Fugue staging, i'll be pre-concert talking with Bill Barclay & Laurence Cummings at 6.30pm: https://t.co/zE7IhJFvRj
Only an American composer could set these words with a straight face https://t.co/saSdNQT03K