David Patrick Stearns

"The Merry Widow" was more sleepy than bubbly when its splashy new production opened New Year’s Eve at the Metropolitan Opera, writes David Patrick Stearns.

Sunday's four-hour performance by the Teatro Regio Torino at Carnegie Hall offered many rewards, writes David Patrick Stearns.

The technological barbarians are at the gate – and are being welcomed graciously.

With Joyce DiDonato leading the cast, Carnegie's concert presentation of Alcina showed why the work should never lose its special occasion status, writes David Patrick Stearns.

Despite a demonstration across from Lincoln Center—and interruptions from hecklers—"The Death of Klinghoffer" production captured its many layers, writes David Patrick Stearns.

Pretty Yende's New York debut revealed a magnetically lush soprano and as much genuine warmth as boundless artistic confidence, writes David Patrick Stearns.

The Metropolitan Opera's opening night couldn't help but arrive with an air of victory, writes David Patrick Stearns in his review of opening night.

A new opera by Laura Kaminsky looks at a transgender woman coming to terms with herself and her world. David Patrick Stearns reviews the premiere.

Mieczyslaw Weinberg's 1968 opera The Passenger is not the great, cathartic Holocaust opera that we've been waiting for, writes David Patrick Stearns.

Rameau's one-act Pygmalion received a site-specific staging at Madame Tussauds Tuesday night. Operavore's David Patrick Stearns writes that the venue brought some challenges to the score.

The Metropolitan Opera's annual stars-of-tomorrow event is often a prelude to a house contract. David Patrick Stearns assesses the talent on display on Sunday.

"Without so much as an outrageously updated production or even a fake head, the visiting Vienna State Opera at Carnegie Hall delivered a near-seismic concert version of Salome," writes David Patrick Stearns.

Operavore's David Patrick Stearns reviews the new Met Opera production of Werther which reveals itself as a haunting but solid presentation.

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.

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.

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.

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.

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.

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.

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.