The Mobile Register, March 24, 2001, Mobile Opera, Scarpia in "Tosca"
David Stoneman captures Scarpia's sinister charm and sociopathic preoccupation with Tosca. Dressed appropriately in black, he struts and poses and glowers menacingly, and his mirthless, death-mask smile is almost grotesque in view of the havoc he will wreak.
Thomas B. Harrison
listen to the 'Te Deum'
Jack Neal's "About RENO" Music Reviews, February 17, 2001, Nevada Opera, Germont Pere in "La traviata"
Baritone David Stoneman, who sings Alfredo's father, Germont, is also wholly believable. Stoneman has the proper voice type for this role, a keen sense of the words he's singing and what they mean - particularly to Violetta - and the means to express them while maintaining a cantabile tone. In Germont's great aria, Di Provenca il mar," Stoneman is nothing less than majestic in his recollections of happier times and hopes for his son's future happiness.
Jack Neal
The Mobile Register, October 21, 2000, Mobile Opera, Top in "The Tender Land"
As the drifters Martin and Top, Neal Harrelson and David Stoneman deliver a solidly professional tandem performance. The former is serious but fanciful, entertaining the notion that he can take Laurie with him. Top is outwardly frivolous, but he admonishes his friend: "Hopping a freight/Sleeping in a railroad crate/Life on the run..." Is this what Martin wants for his sweetheart?
Stoneman proffers this reality check with authority and an underlying compassion for his friend and a girl they both admire.
Thomas B. Harrison
The Harbinger, October 31, 2000, Mobile Opera, Top in "The Tender Land"
David Stoneman, as Top, one of the drifters, was electric on stage. He seemed to actually be the part he played, and his fine baritone voice projected easily to the last seat in the hall.
Pat Pinson
Jack Neal's "About RENO" Music Reviews, September 23, 2000, Nevada Opera, Soloist in "Member's Choice Concert"
David Stoneman is as formidable an actor as he is a singer. In the soliloquy "E sogno o realta?" from act two of "Falstaff," Stoneman raged over the faithlessness of women with a wit and wealth of tone that were show stopping.
Jack Neal
Jack Neal's "About RENO" Music Reviews, May 4, 2000, Nevada Opera, Captain Corcoran in "H.M.S. Pinafore"
The commanding presence and rich baritone of David Stoneman brings a raised eyebrow here and an aristocratic nonchalance there to Pinafore's Captain Corcoran that plays deftly into the many traps of one of the world's most convoluted plots.
Jack Neal
The Reno Gazette-Journal, May 6, 2000, Nevada Opera, Captain Corcoran in "H.M.S. Pinafore"
Baritone David Stoneman as Capt. Corcoran, commander of the "Pinafore," was crisp, stuffy and archingly funny when he changed from upper-class officer to "lower-class" seaman.
Naomi Grady
The Boston Globe, November 30, 1999, The Boston Academy of Music, John Wellington Wells in "The Sorcerer"
The musical standard of the performance was high. Everyone could deliver dialoge and sing agreeably, which is more than you can say for most G&S productions. And a few people could sing really well - (such as) David Stoneman, with a neat bag of magic tricks.
Richard Dyer
Paul Berenson - Web Reviews, April 2000, Santa Barbara Grand Opera, Alidoro in "La Cenerentola"
David Stoneman's Alidoro is mystical and magical. The storm seems like it eminates from him. At other times he has this knowing presence. He seems a lot like Merlin or Prospero.
Paul Berenson
Santa Barbara News Press, October 12, 1999, Santa Barbara Grand Opera, Silvio in "I pagliacci"
Her lover, Silvio, was sung with unusual passion and intimacy by baritone David Stoneman. The lovers' duet, beginning with Stoneman's rich, deep delivery of "Decide my fate, Nedda," was swathed with passion and intimacy.
Hillary Hauser
The Independent, April 29, 1999, Santa Barbara Grand Opera, Sharpless in "Madama Butterfly"
... I will simply say that the singing and acting of David Stoneman as Sharpless took us to the tragic core of this masterpiece of pathos. Puccini was well served.
Charles Donovan
Santa Barbara News Press, April 28, 1999, Santa Barbara Grand Opera, Sharpless in "Madama Butterfly"
The supporting roles are crucial in this opera, and David Stoneman's Sharpless was nicely understated. His baritone voice is secure, his acting supple.
Greg Hettmansberger
Richmond's Punch-line Magazine, April 1, 1999, Virginia Opera, Don Alfonso in "Così fan tutte"
The real starts of the show were the supporting roles of Don Alfonso and Despina. David Stoneman's rascally Don Alfonso, the instigator of this plot to overthrow the ladies' honor, was superb in timing and stage presence. He might have been a little young for the role, but his superior acting made up for the slight miscasting. From where I sat, Stoneman looked like Norm MacDonald, with enough of that irascibility that serves both men well, and his direct addresses to the audiences' women were particularly charming and enlivening. Alain Rodin made the most of her Despina, the saucy maid with earthly sensuality. She was the perfect foil for the prim and proper attitudes of the young ladies she served, as well as with her counterpart Stoneman. Together, they provided several of the evening's highlights.
T. K. Slonaker III
The Virgina Port Folio Weekly, March 16, 1999, Virginia Opera, Don Alfonso in "Così fan tutte"
Baritone David Stoneman as Don Alfonso returns to Virginia Opera after singing Achillas in 1996-7's Julius Caesar. Alfonso instigates the high jinxes that nearly destroy the young couples' unions. Stoneman makes this a bravado role, matching the considerable talents of his co-princilpals.
Vince Brown
The Virginian-Pilot, March 14, 1999, Virginia Opera, Don Alfonso in "Così fan tutte"
Baritone David Stoneman, as Don Alfonso, oversaw the plot's intrigues with a commanding, deep voice.
Lee Teply
The Richmond Times-Dispatch, March 26, 1999, Virginia Opera, Don Alfonso in "Così fan tutte"
David Stoneman looks and sounds too young in this role, but he compensated with a courtly manner and unerring comic timing.
Clarke Bustard
The Boston Globe, May 18, 1998, Boston Academy of Music, Mandryka in "Arabella" by Richard Strauss
David Stoneman took a giant step forward as Mandryka, one of the most demanding roles ever created for a bass-baritone. He sang strongly, securely, and tirelessly over the entire range of his voice. He is an obvious talent in both singing and acting. It is probably too much to ask of a Mandryka to sing beautifully, too, but Stoneman did it often enough to suggest he could bring this novel dimension to the music.
Richard Dyer
The Boston Phoenix, May 22, 1998, Boston Academy of Music, Mandryka in "Arabella" by Richard Strauss
Baritone David Stoneman (Mandryka, Arabella's handsome, wealthy, but self-conscious, and almost boorishly unsophisticated knight-in-shining-armor landowner) sang this near-impossible role with impressive fervor and sturdiness.
Lloyd Schwartz
The Mobile Register, March 20, 1998, Mobile Opera, the Pirate King in "Pirates of Penzance"
David Stoneman makes a properly dashing and heroic Pirate King. The baritone wisely ignores mannerisms made famous by Kevin Kline and gives his Pirate King both a conscience and a consciousness. He also has some of the show's most athletic numbers, which he handles nimbly.
Thomas B. Harrison
The Boston Bay Windows, December 4, 1997, Boston Academy of Music, "Pirates of Penzance"
And there were some good performances to be enjoyed. Best of all was tall, lanky David Stoneman, a baritone who seemed born to play the swashbuckling Pirate King, which he played with considerable comic aplomb.
Robert Nesti
The Boston Globe, December 1, 1997, Boston Academy of Music, "Pirates of Penzance"
David Stoneman had what the comic leads lacked - comic strength and a completely suitable voice.
Michael Manning
The Boston Globe, May 19, 1997, Boston Academy of Music, Enrico in "Anna Bolena"
David Stoneman has found the right grove for his bass-baritone voice, which is now imposingly resonant across a wide range.
Richard Dyer
Opera News, September, 1997, Boston Academy of Music, "Anna Bolena"
Bass-baritone David Stoneman's is a good voice, intelligently and authoritatively used.
Jeffrey C. Smith
The Virginian-Pilot, February 2, 1997, Virginia Opera, Achilla in "Giulio Cesare"
Baritone David Stoneman was a strong singer and actor as Achillas, an Egyptian general. With an intense, dark tone, he had the threat of a sinister snake, moving in and out of the plot's conflicts. His ornaments and fast passages were unusually clean for such a powerful voice..
Lee Teply
Richmond Times-Dispatch, February 14, 1997, Virginia Opera, "Giulio Cesare"
Baritone David Stoneman, as Ptolemy's henchman Achillas, brought dramatic depth, vocal heft and unfussy baroque stylishness to his role.
Clarke Bustard
The Music Connoisseur, Spring/Summer, 1997, American Opera Projects, "Memoirs of Uliana Rooney" by Vivian Fine
David Stoneman ably filled out the cast as a remarkable singer who betrayed no vocal or theatrical weakness.
Donald Fletcher
Sightlines - A Publication of OperaGlass, Inc., September 10, 1996, Regina Opera, "Don Giovanni"
Regina Opera's performance on June 8th was everything one could want in such a monumental work! David Stoneman simply WAS Don Giovanni... with his good looks, fine acting, resonant voice, and elegance and flair. Stoneman's singing of the champagne aria "finch 'han dal vino" showed great agility and vocal prowess, as did his serenade "Deh vieni alla finestra." This was a Don who captivated and seduced. He used people, but you had to love his irrepressible manliness. Stoneman's final scene with the statue of the Commendatore was chilling. Defiant to the end, the Don accepts the statue's invitation to dinner and is dragged to hell. The audience, myself included, was stunned as red smoke, the flames of hell, enveloped the Don. And yet, one did not want him to die. David Stoneman is a "find" and one senses great things for him in the future.
Nino Pantano
The New York Times, June 18, 1996, American Chamber Opera Co., Tobermory in "Tobermory" from "Beast and Superbeast" by Jorge Martín
David Stoneman was superbly catlike in the title role.
Alan Kozinn
Sightlines - A Publication of OperaGlass, Inc., September 10, 1996, American Chamber Opera Co., "Tobermory" from "Beast and Superbeast" by Jorge Martín
David Stoneman, in a black body suit and pussycat mask, is every inch a tomcat with his feline stance and sinuous curl-up on a sofa.
Rhoda Weber
Boston Phoenix, May 12, 1995, Boston Academy of Music, Selim in "Il turco in Italia"
In the title role, baritone David Stoneman's size and resonance were impressive, and he caught Selim's dignity as well as his helplessness.
Lloyd Schwartz
Boston Globe, May 3, 1995, Boston Academy of Music, "Il turco in Italia"
David Stoneman, in the title role of the Turk, sang with a brightness of tone that left the ears tingling.
Richard Dyer
Boston Bay Windows, May 4, 1995, Boston Academy of Music, "Il turco in Italia"
The huge-voiced David Stoneman impressed as always.
T. J. Medrick, Jr.
Boston Herald, December 4, 1994, Opera New England, Uncle Henry in "The Jumping Frog of Calaveras County"
David Stoneman sang the music with utter confidence, no small matter in some of the multi-layered ensembles.
Ellen Pfeifer
Boston Bay Windows, April 28, 1994, Boston Academy of Music, Pacuvio in "La pietra del Paragone"
Bass David Stoneman again demonstrated his more than significant potential as Pacuvio. What a Méphistophélès in "Faust" he might one day make!
T. J. Medrick, Jr.
Boston Bay Windows, March 24, 1994, Boston Academy of Music, Calchas in "La belle Hélène"
Bass-baritone David Stoneman, the sober Prefect of last year's "Linda di Chamounix," was a rubber-faced, nimble-legged, and rich-voiced Chalcas.
T. J. Medrick, Jr.
Boston Tab, March 22, 1994, Boston Academy of Music, "La belle Hélène"
David Stoneman especially, does not disappoint as a member of a stable of singers whose open-hearted (and throated) vocalism reminds opera lovers of why they fell in love with the singing voice in the first place.
T. J. Medrick, Jr.
Boston Globe, March 18, 1994, Boston Academy of Music, "La belle Hélène"
David Stoneman as Calchas, High Priest of Jupiter; gave a solid performance.
Anthony Tommasini
Boston Bay Windows, September 23, 1993, Boston Academy of Music, "A Mozart Opera Marathon"
The first delight of the day was baritone David Stoneman.
Richard Johnson
Boston Globe, April 19, 1993, Boston Academy of Music, Il Prefetto in "Linda di Chamounix"
The role of the town prefect ignited bass David Stoneman, who sang with opulent sound and temperament.
Anthony Tommasini
Boston Phoenix, April 23, 1993, Boston Academy of Music, "Linda di Chamounix"
Baritone David Stoneman impressed with his big, dark, cavernous tone.
Lloyd Schwartz
Boston Bay Windows, April 22, 1993, Boston Academy of Music, "Linda di Chamounix"
David Stoneman was impressive as the Prefect.
T. J. Medrick, Jr.
L'Opera - Milano, Maggio, 1993, Sarasota Opera Association, Bello in "La fanciulla del West"
Uno di cantanti dell'Opera da tenere d'occhio per il futuro sono senz'altro il baritono David Stoneman.
(One of the singers from the opera to keep an eye on in the future is, without a doubt, baritone David Stoneman.)
J.C.S.
The Longboat Observer, March 11, 1993, Sarasota Opera Association, Paris in "Roméo et Juliette"
David Stoneman is a voice you notice immediately.
Herman Baar
Opera Monthly, September/October, 1993, Sarasota Opera Association, "Roméo et Juliette"
David Stoneman was a noteworthy Paris.
Jeffrey C. Smith
American Record Guide, July/August, 1993, Sarasota Opera Association, "Roméo et Juliette"
David Stoneman (Paris), capably handled his key role.
F. Warren O'Reilly
The New York Times, October 23, 1993, American Chamber Opera, the Ghost in "Mass for the Dead" an opera by Alice Shields
The performance left nothing to be desired. David Stoneman, as the Ghost, sang in a fairly monumental bass-baritone.
Alex Roth
Opera Monthly, March 1993, Associate Artists Opera, Thomas Putnam in "The Crucible"
A standout was David Stoneman as Thomas Putnam with his dark, secure, and articulate baritone.
Jeffrey C. Smith
Boston Herald, September 19, 1992, Associate Artists Opera, Thomas Putnam in "The Crucible"
David Stoneman as Thomas Putnam, gave a vivid portrayal sung with sonorous tone and impeccable diction.
Ellen Pfeifer
Boston Globe, September 19, 1992, Associate Artists Opera, Thomas Putnam in "The Crucible"
David Stoneman as the stern Thomas Putnam gave the most accomplished performance.
Anthony Tommasini
Boston Herald, April 9, 1992, Chorus pro Musica, Zuñiga in "Carmen"
Notable also was David Stoneman's capable Zuñiga.
Joshua Fisk
Boston Globe, November 25, 1991, Boston Academy of Music, Isaac in Arthur Sullivan's "Ivanhoe"
There was lots of big, ringing sound from David Stoneman.
Richard Dyer
The Boston Herald, July 11, 1991, The Publick Theater, Roderick in "Ruddigore"
The cast is one of the Publick's strongest ever, with impressive work coming, David Stoneman's manly ghost of Sir Roderick Murgatroyd.
Arthur Friedman
The Boston Tab, July 16, 1991, The Publick Theater, Roderick in "Ruddigore"
David Stoneman's baritone voice is a stand out.
Eric Secoy
The Journal, July 18, 1991, The Publick Theater, Roderick in "Ruddigore"
A highlight is David Stoneman's Sir Roderick.
Beverly Crease
Worcester Sunday Telegram, June 9, 1991, Salisbury Lyric Opera, Figaro in "The Marriage of Figaro"
An impeccable effort, David Stoneman excelled as Figaro.
Richard Duckett
Sarasota Herald-Tribune, February 19, 1991, Sarasota Opera Association, Wagner in "Faust"
David Stoneman was excellent as Wagner, displaying a resonant baritone voice and easy stage presence as Valentin's friend.
Florence Fischer
The Boston Phoenix, August 31, 1990, Monadnock Music Festival, Pistola in"Falstaff"
Pistol was given a lively, elegantly sung performance by rich-voiced bass David Stoneman.
Lloyd Schwartz
Boston Herald, April 3, 1990, Boston Lyric Opera, the Marquis in"La Traviata"
David Stoneman as the Marquis d'Obigny was luxury casting in a small part.
Ellen Pfeifer
Sarasota Herald-Tribune, February 28 1990, Sarasota Opera Association Apprentice Scene Program
The garden scene from Act II of Gounod's "Faust" featured bass David Stoneman as Mephistopheles, in this case interpreted as a seductive and self-satisfied rogue rather than the pretentious, menacing Devil that often is portrayed. Stoneman's resonant voice was clearly focused in the deepest tones, without a trace of muddiness.
Arden Fowler
Boston Herald, November 13, 1989, Boston Chorus pro Musica, Baritone soloist in Vaughan Williams "Dona Nobis Pacem" and Fauré "Requiem"
Baritone David Stoneman has some handsome and ringing tones. Stoneman sounded at his best in "The Angel of Death," his voice consistently sonorous and virile.
Ellen Pfeifer
Boston Globe, November 13, 1989, Boston Chorus pro Musica, Baritone soloist in Vaughan Williams "Dona Nobis Pacem" and Fauré "Requiem"
The declamations of the baritone, here sung eloquently by David Stoneman. Stoneman, once again a superb soloist.
Anthony Tommasini
The Peterborough Telegraph, August 7, 1989, Monadnock Music Festival, Silvano in "Un Ballo in Maschera"
A surprise came in the masterful Silvano of bass David Stoneman; he may have been the most consistent singer in the entire performance.
Richard F. Binder
The Peterborough Transcript, August 10, 1989, Monadnock Music Festival, Silvano in "Un Ballo in Maschera"
David Stoneman added excellent singing to Monadnock Music's effort.
Richard Strukhoff
Boston Globe, May 1, 1989, Indian Hill Symphony, Colline in "La Bohème"
The Bohemians had good, strong voices and lively personalities and bass David Stoneman, sang Colline's farewell to his coat with sensitivity.
Richard Dyer
Portland Maine , Press Herald, December 8, 1986, Portland Choral Arts Society, Baritone soloist in "Messiah"
Baritone David Stoneman's middle and upper ranges were superb.
Rogean Tulk
Boston Globe, April 27,1986, Boston Festival of the Arts, Michael in "The Cell" by Newell Hendricks
But Hendricks' recitatives were vividly sung by David Stoneman.
Anthony Tommasini
Los Angeles Times, June 6, 1983, Orange Coast College, Baritone soloist in "Israel in Egypt"
Bass David Stoneman proved agile, resonant, and dignified.
Benjamin Epstein