David Patrick Stearns

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:

Review: Handel's Semele Comes to BAM With Ming Dynasty Temple. And Sumo Wrestlers.

Thursday, March 05, 2015

David Patrick Stearns reviews this production by the Canadian Opera Company.
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Comments [3]

Review: DiDonato Marvels in Rossini's 'La Donna del Lago'

Tuesday, February 17, 2015

You can question the dramatic viability of Rossini's "La Donna del Lago" in the 21st Century but still marvel at Joyce DiDonato surpassing herself in the role of Elena.
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Comments [17]

Review: A Strange Night at the Metropolitan Opera's Bluebeard and Iolanta

Friday, January 30, 2015

With an on-stage protester and a hallucinatory staging of Bluebeard's Castle, a night at the Metropolitan Opera becomes unsettling, writes David Patrick Stearns.
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Comments [9]

Review: A Less than Merry Widow at the Metropolitan Opera

Thursday, January 01, 2015

"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.
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Comments [16]

Review: With Luxury Casting, Turin Opera Rehabilitates William Tell at Carnegie Hall

Monday, December 08, 2014

Sunday's four-hour performance by the Teatro Regio Torino at Carnegie Hall offered many rewards, writes David Patrick Stearns.
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Comments [6]

Smartphone App, Tweet Seats Add Interactivity to Philadelphia Concert Halls

Thursday, November 20, 2014

The technological barbarians are at the gate – and are being welcomed graciously.
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Comments [21]

Review: Handel's Alcina a Vocal Feast in an Unusually Hushed Carnegie Hall

Monday, October 27, 2014

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.
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Review: Depth, Not Controversy, Lingers After Met Opera's The Death of Klinghoffer

Tuesday, October 21, 2014

Despite a demonstration across from Lincoln Center—and interruptions from hecklers—"The Death of Klinghoffer" production captured its many layers, writes David Patrick Stearns.
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Comments [23]

Review: Pretty Yende Enterprising in New York Recital Debut

Tuesday, October 14, 2014

Pretty Yende's New York debut revealed a magnetically lush soprano and as much genuine warmth as boundless artistic confidence, writes David Patrick Stearns.
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Comments [3]

Review: After Turmoil, Metropolitan Opera Opens Season with Spirited Figaro

Tuesday, September 23, 2014

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.
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Comments [10]

Opera As One Explores Gender Change, Identity Struggles

Friday, September 05, 2014

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.
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Comments [1]

Review: Grand Production Fails to Animate The Passenger

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.

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Comments [3]

Review: Rameau's Pygmalion Waxes Operatic at Madame Tussauds

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.

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Review: At Metropolitan Opera Contest, Steely Nerves and Second Chances

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.

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Comments [1]

Review: Strauss's Salome, Still Creepy After All These Years

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.

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Comments [4]

Review: The Met's New Werther Succeeds in Haunting Ways

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.

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Comments [10]

Review: Billy Budd at BAM is Electrifying

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.

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Comments [2]

Review: Met Tries Conceptual Approach in Rich, Confounding Prince Igor

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.

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Comments [11]

Review: Metropolitan Opera’s New Fledermaus is Sprawling, Schticky

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.

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Comments [12]

12 Pivotal Moments in Opera in 2013

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.

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Comments [6]