David Patrick Stearns is the classical music critic for the Philadelphia Inquirer, a contributor to WRTI-FM in Philadelphia and a frequent contributor to Gramophone and Opera News magazine.
Newspapers: Philadelphia Inquirer classical music critic (2000 to the present) and USA Today music and theater critic (1983-2000).
Radio: WRTI-FM, contributor to Creatively Speaking with Jim Cotter (2009 to the present) and NPR Morning Edition, music commentator (1986-1989).
Magazines: Frequent contributions to Gramophone and Opera News.
Film: Screenwriter for two Lawrence Kraman documentaries, David Amram The First 80 Years (to be premiered in November) and The Face on the Barroom Floor (to be completed 2013).
Education: MA in musicology from New York University, BS in journalism from Southern Illinois University. Born in Sycamore, Illinois. Now living in Philadelphia.
David Patrick Stearns appears in the following:
Tuesday, October 21, 2014
Tuesday, October 14, 2014
Tuesday, September 23, 2014
Friday, September 05, 2014
Friday, July 11, 2014
Mieczyslaw Weinberg's 1968 opera The Passenger is not the great, cathartic Holocaust opera that we've been waiting for, writes David Patrick Stearns.
Wednesday, June 18, 2014
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.
Monday, March 31, 2014
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.
Monday, March 03, 2014
"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.
Wednesday, February 19, 2014
Operavore's David Patrick Stearns reviews the new Met Opera production of Werther which reveals itself as a haunting but solid presentation.
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.