Night After Night

Writing, a blog, and a newsletter. By Steve Smith.

Philip Glass

  • Happy Birthday, Philip Glass.

    A warning, in advance, that what follows is a sentimental wallow. I first came to know the music of Philip Glass in 1983, when – as an ambitious 17-year-old autodidact subscriber to the classical-music division of the RCA Music Club – I forgot to send back the "ship nothing" reply card one fateful month, and

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  • Collegiate Chorale at Carnegie Hall, February 27, 2013

    Collegiate Chorale, by Richard Termine/The New York Times Collegiate Chorale at Carnegie Hall, February 27, 2013The New York Times, March 2, 2013 Here we are at Night After Night post No. 1,000. Feels auspicious, even if it's just a link to the latest of my New York Times reviews. If this particular report comes off

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  • “Curtains Fall, But Operas Reverberate”: New York Times year-end essay

    Einstein on the Beach at BAM, by Sara Krulwich/The New York Times "Curtains Fall, But Operas Reverberate"The New York Times, Dec. 16, 2012 A year-end essay for The New York Times about the two events that had the most enduring impact for me in 2012: Philip Glass and Robert Wilson's Einstein on the Beach, which

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  • Institutionalized.

    Stockhausen and Boulez at Darmstadt in 1962. Photo from The Guardian. The Week Ahead: Nov. 28-Dec. 4The New York Times, November 28, 2010 As plugged in this week's Arts & Leisure, the fine folks who bring you Darmstadt "Classics of the Avant-Garde" events sporadically throughout the year will open their third-annual Darmstadt Essential Repertoire festival

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  • Ad libitum.

    Toy-piano advocate Phyllis Chen opens the new season of Barbès Classical—a casual series produced by the Concert Artists Guild's New Music/New Places initiative—on Sunday, September 12 at Barbès in Park Slope, Brooklyn, also celebrating the release of her new CD, Mesmers. (PhyllisChen.net) The partisans of queer opera blog Parterre Box are running up a tally

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