Wednesday, June 3, 2015

Peter Dobrin

Peter Dobrin is a classical music critic for The Inquirer. Since 1989, he has written music reviews, features, news and commentary for the paper, covering such topics as the Philadelphia Orchestra's 64-day strike in 1996, the development of a new performing arts center in Philadelphia, changes in the classical-recording industry and the finances of Philadelphia's arts organizations.

He has also covered the Philadelphia Orchestra's tours in Asia, South America and the United States. Dobrin was a French horn player. He earned an undergraduate degree in performance from the University of Miami, and received a master's degree in music criticism from the Peabody Institute of the Johns Hopkins University, where he studied with Elliott Galkin. His work has also appeared in the Baltimore Sun and the Washington Post.

Read his blog "ArtsWatch" to find out who's making news, noise and splash in the Philadelphia arts world and beyond. 

Read Peter's blog Arts Watch
Latest post: Kimmel Center reaches deal with unions - 09/30/2014
  Email Peter at
In a review last month, Washington Post music critic Anne Midgette described Michael Fabiano, 29, as an "old-school tenor . . . looking and sounding like something out of the Golden Age." In Verdi's Il Corsaro, she wrote, "he made a romantic, lyrical sound with a heroic ring to it, starting from the moment he opened the piece by striding onstage, letting loose with what amounts to a vocal fanfare, and getting everyone in the room to sit up and take notice."
If John Harbison ever entertained the thought of joining the current march away from dissonance, he's showing no signs of it. Happily, Harbison is firm in a musical language that perches, entrancingly, at a point just dissonant enough - at least according to the two premieres Sunday night by Network for New Music. Prefacing each new work with a much earlier one filled out important context. The MIT professor, at 75, has a musical style as concentrated as ever.

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