A classical music critic in New York City could conceivably never spend an evening at home.

Carnegie Hall presents the world’s leading artists virtually every night during its season; Lincoln Center’s theaters are almost never dark. Then there are the dozens of smaller venues scattered throughout town. Planning a concert-going calendar, then, has always been a balancing act, full of disappointment that you can’t be in multiple places at once.

Then came the coronavirus pandemic, which caused performances to grind to a halt earlier this month.

I haven’t had the heart to delete events in my own calendar, even though in the coming week there’s no chance I’ll see the premiere of a Kate Soper opera in Montclair, N.J., or hear Mitsuko Uchida play Beethoven’s “Diabelli” Variations at Carnegie.

But I also haven’t had the time.

In-person performances have been replaced by a deluge of digital ones — live streams and recently unlocked archive recordings — that have made for a calendar hardly less busy than before concert halls closed. It’s enough to keep a critic happily overwhelmed, yet also wondering whether the industry is making a mistake by giving away so much for free.