David Patrick Stearns appears in the following:
Monday, February 10, 2014
The Glyndebourne Festival production of Billy Budd has docked in Brooklyn. David Patrick Stearns writes that it explores the opera's layers with a thoroughness and balance not often found anywhere.
Friday, February 07, 2014
The results of the Met's revival of Borodin's Prince Igor were visually imaginative and musically gratifying but essential narrative elements simply weren’t there, writes David Patrick Stearns.
Thursday, January 02, 2014
The Metropolitan Opera's new production of Johann Strauss Jr.'s classic operetta Die Fledermaus bowed on New Year's Eve. David Patrick Stearns writes that this staging was too gussied up.
Wednesday, December 18, 2013
This was the year of Bellini's Norma, whose title role has even frightened off Renee Fleming and has mostly been a mirage in the operatic past, writes David Patrick Stearns in this look back.
Saturday, December 07, 2013
In Robert Carsen's production of Falstaff, 1950s England stands in for the Windsor of Shakespearean antiquity. The conceit mostly works, writes David Patrick Stearns.
Monday, November 25, 2013
The major Britten centennial event in New York on Friday was a concert version of Peter Grimes. The performers went for broke at every dramatic opportunity, writes David Patrick Stearns.
Monday, October 28, 2013
With "Baden-Baden 1927," Gotham Chamber Opera presented four one-act works by Ernest Toch, Darius Milhaud, Kurt Weill and Paul Hindemith. David Patrick Stearns considers the results.
Tuesday, October 22, 2013
Nico Muhly's Two Boys has an intentionally creepy sexual frankness that goes beyond anything previously seen on the Met stage, writes David Patrick Stearns.
Sunday, October 13, 2013
The Met's high-style production with a smartly-selected cast represents a near-ideal opportunity to come to terms with what the piece is and is not, writes David Patrick Stearns.
Wednesday, September 25, 2013
"Light, swift and cogent were the watchwords in a performance that felt rather shorter than its three-and-a-half hour duration," writes David Patrick Stearns.
Tuesday, September 24, 2013
Before the first notes of Eugene Onegin, shouts rained down from the Family Circle of the Metropolitan Opera, with the word "Putin" surfacing often. David Patrick Stearns reports.
Wednesday, September 18, 2013
If applause alone could cure the New York City Opera's financial ills, the company would be in the pink following Tuesday's opening of the Mark-Anthony Turnage opera Anna Nicole, writes David Patrick Stearns.
Wednesday, August 14, 2013
Racks of dresses sat in the middle of the stage while costumed mannequins hung in mid air in the Mostly Mozart production of Marriage of Figaro. David Patrick Stearns had a look and offers his review.
Tuesday, July 09, 2013
This Chinese martial arts opera comes to Lincoln Center for 27 performances.
Monday, April 15, 2013
The ages-old plea, “Let my people go,” took on immediate meaning when Rossini’s Moses in Egypt had concluded its second act and the Israelites were still captive, writes David Patrick Stearns.
Friday, April 05, 2013
"Reaching the end of Giulio Cesare at its opening night wasn't just a matter of taking in four-plus hours of Handel’s greatest arias, but navigating stories within stories," writes David Patrick Stearns.
Thursday, March 28, 2013
John Adams's large-scale oratorio The Gospel According to the Other Mary got its New York premiere Wednesday night. David Patrick Stearns writes that its Adams's "biggest and most profusely scored work."
Thursday, March 28, 2013
Beyond religion, beyond duty, beyond fashion lies J.S. Bach’s music for keyboard. Read David Patrick Stearns's take on the composer's epic keyboard works and get a free download.
Thursday, March 21, 2013
For the next 10 days, WQXR will be presenting the complete works of J.S. Bach – some 1100 in all. Get a free download, read our introductory essay and check out programming highlights.
Monday, February 25, 2013
"For all its musical clarity Sunday at BAM, Britten's opera failed to take possession (at least of me) in a way that it truly can," writes Operavore's David Patrick Stearns.