作为大都会歌剧院的总经理出差旅行,是一种新奇体验。每到一座城市,我一下飞机就会被记者、摄影师、歌手和经纪人包围。整个白天我都在试听,晚上看演出,中间抽空会见经纪人,努力记起我们现在需要什么,以后需要什么,剧院能付多少钱。当我需要一位艺术家时,基本原则有两条:就艺术而言,我需要排练时间,也需要演出时间,正常情况下这意味着至少10到1 2周时间;就惯例而言,春季大都会国内巡演那几个星期,我有一次演员甄选,因为我们要努力给所有的巡演城市,提供与纽约同样的演出。欧洲的艺术家从来不喜欢巡演,我必须申明,我不能责怪他们。然而,一旦他们答应下来,只有少数几个会想法子逃避这项义务。 Traveling as the general manager of the Metropolitan Opera is a novel experience. Everywhere I go, I’ll be surrounded by reporters, photographers, singers and brokers as soon as I get off the plane. Throughout the day I was auditioning, watching performances tonight, taking the time to meet brokers in the middle, working hard to remember what we need now, what we need later and how much the theater can pay. When I need an artist, there are two basic principles: In terms of art, I need time for rehearsal and performance, which normally means at least 10 to 12 weeks. In practice, large in spring During the few days of the domestic tour, I had an actress selection as we worked hard to give all the touring cities the same performances as New York. European artists never like to tour, I must state that I can not blame them. However, only a few will find ways to evade this obligation once they agree.