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我的第二个演出季中有几个里程碑式的事件。开幕之夜,加内特·科林斯成为了第一个在大都会担任独舞的黑人艺术家。负责舞蹈演出的扎卡利·索罗夫,那年春天告诉我他有一个人选非常适合《阿依达》中的凯旋场景,但有一个问题——她的肤色。我真不懂他是什么意思,因为这段舞蹈被认为是努比亚人跳的,参与舞蹈的所有人都要把全身涂黑。对于科林斯的聘用问题,我没有丝毫犹豫,合同签署后,才将此事通报给董事会。1951-52年演出季大获成功的项目是莫扎特的《女人心》。在大都会过去历史上,这出戏仅演出过12场。《女人心》的这次成功,我认为原因在于阿尔弗雷德·伦特(Alfred Lunt,1892-1977,美国舞台导演、演员)的登台方式。剧院的场灯压暗,金色的幕布拉
There are a few milestones in my second season. On the opening night, Garnett Collins became the first black artist to act as soloist in the metropolis. Zakaria Solov, who is in charge of the dance performance, told me that he had a candidate that suited the triumphal scene of Aida in the spring, but there was a problem - her complexion. I really do not understand what he meant because the dance was considered a Nubian jump, and all the dancers involved should be blacked out. I did not hesitate about the employment of Corinthians, and I did not notify the board until the contract was signed. 1951-52 years performance season successful project is Mozart’s “Heart of Women.” In the past history of the metropolis, this play has performed only 12 games. The success of “The Woman’s Heart”, I think, is due to the way Alfred Lunt (1892-1977, American stage director, actor) made his debut. Theater lights dim dark, golden curtain