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: 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 [5]

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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Comment

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]

Review: In Metropolitan Opera's Falstaff, An Old Rogue Takes on a Dark Edge

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.

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Comments [12]

Review: St. Louis Symphony's Intense Peter Grimes Caps Britten Centennial

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.

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Comments [2]

Review: Gotham Chamber Opera Recreates Seminal Event in 'Baden-Baden 1927'

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.

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Comments [1]

Review: Hypnotic and Frank, Muhly's Two Boys Gets U.S. Premiere at the Met

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.

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Comments [9]

Review: Britten and Shakespeare's Urban Forest in a 'Dream' Team at the Metropolitan Opera

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.

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Comments [3]

Review: James Levine Makes Solid Return in Met's Cosi fan tutte

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.

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Comments [2]

Review: Amid Protests and Gowns, Met Opens Season with Eugene Onegin

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.

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Comments [29]