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.
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.
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.
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.
"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.
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.
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.
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.
This Chinese martial arts opera comes to Lincoln Center for 27 performances.
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.
"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.
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."