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| As reports of anti-Asian hate crimes spread in the United States earlier this year, David Kim, a violist in the San Francisco Symphony, found himself despondent. | 今年早些时候，随着反亚裔仇恨犯罪的消息在美国蔓延，旧金山交响乐团(San Francisco Symphony)的中提琴手戴维·金(David Kim)感到沮丧。 |
| Kim, who is Korean American, was already disturbed by what he saw as widespread racism in classical music. He believed Asian string players were marginalized and treated “like cattle,” as he put it in a recent interview. “Like a herd of mechanical robots.” | 金是韩裔美国人，他本已对他眼中古典音乐界普遍存在的种族主义感到不安。他认为亚裔弦乐演奏者被边缘化，被“像牲口一样”对待，正如他在最近的采访中所说，“就像一群机器人。” |
| And he felt his white colleagues in San Francisco, who make up 83 percent of the orchestra, did not share his urgency about building a culture more welcoming to Asian, Black and Latino players. | 他觉得，他在旧金山交响乐团的白人同事（占乐团的83%）并不像他那样，感觉迫切需要建立一种更欢迎亚裔、黑人和拉丁裔演奏者的文化。 |
| Feeling isolated and angry, Kim, 40, began to question his career. In March he resigned as the sole musician of color on an orchestra committee focused on equity and inclusion. And after the ensemble resumed live performances in May, he took time off, feeling on several occasions too distraught to play. | 40岁的金感到孤立和愤怒，开始质疑自己的职业生涯。今年3月，他辞去了一个专注公平和包容的管弦乐团委员会的职务，他原本是该委员会唯一的有色人种音乐家。在乐团于5月恢复现场演出后，他有几次因为过于心烦意乱而无法演奏，于是休息了一段时间。 |
| “I felt invisible, even though I was speaking very loudly,” Kim said. “I lost my passion for music.” | “就算大声说话，我还是觉得自己是隐形的，”金说。“我失去了对音乐的热情。” |
| By some measures, artists with roots in China, Japan, South Korea and other countries are well represented in classical music. They win top prizes at competitions and make up a substantial share of orchestras and conservatories. Stars like the Chinese American cellist Yo-Yo Ma, the Japanese American violinist Midori and the Chinese pianist Lang Lang are among the most sought-after performers in the world. | 从某种程度上来说，源自中国、日本、韩国和其他国家的艺术家在古典音乐中具有很高的代表性。他们在比赛中赢得最高奖项，在乐团和音乐学院中占有相当大的比例。美籍华裔大提琴家马友友、美籍日裔小提琴家五嶋绿(Midori)、中国钢琴家郎朗等明星都是世界上最受欢迎的演奏者。 |
| Yet the success of some Asian artists obscures the fact that many face routine racism and discrimination, according to interviews with more than 40 orchestra players, soloists, opera singers, composers, students, teachers and administrators. | 然而，对40多名管弦乐队演奏者、独奏者、歌剧演唱者、作曲家、学生、教师和行政人员的采访显示，一些亚裔艺术家的成功掩盖了一个事实——许多人经常面临种族主义和歧视。 |
| Asian artists encounter stereotypes that their music-making is soulless and mechanical. They are portrayed as exotic and treated as outsiders in a world with its main lineage from Europe. They are accused of besmirching cultural traditions that aren’t theirs and have become targets of online harassment and racial slurs. | 亚裔艺术家经常面对这样的刻板印象——他们的音乐创作是没有灵魂的、机械的。他们被描绘成异国情调，在一个主要血统来自欧洲的世界里被当作局外人。他们遭到指责，说他们玷污了不属于他们的文化传统，并成为网上骚扰和种族歧视的目标。 |
| While artists of Asian descent may be represented in classical music, many say they do not feel seen. | 虽然亚裔艺术家可能在古典音乐中占有一席之地，但许多人说他们觉得自己不受重视。 |
| “You’re not always allowed to be the kind of artist you want to be,” said Nina Shekhar, 26, an Indian American composer who said her music is often wrongly characterized as having Indian attributes. “It feels very invalidating.” | “你不是总能成为自己想成为的那种艺术家，”26岁的印度裔美国作曲家妮娜·谢卡(Nina Shekhar)说。她表示，她的音乐常常被错误地定性为具有印度特征。“这让我感到非常不舒服。” |
| The number of Asian soloists and orchestra musicians has swelled in recent decades, even as Black and Latino artists remain severely underrepresented. But in other parts of the industry, including opera, composition, conducting, arts administration and the boards of leading cultural institutions, Asians are scarce. A lack of role models has exacerbated the problem, artists say, making success in these fields seem elusive. | 近几十年来，亚裔独奏者和管弦乐手的数量大幅增加，而黑人和拉美裔艺术家的人数仍然严重不足。但在该行业的其他领域，包括歌剧、作曲、指挥、艺术管理和主要文化机构的董事会，亚裔非常少。艺术家们表示，榜样的缺乏加剧了这个问题，让这些领域的成功显得遥不可及。 |
| “At times, you feel like an endangered species,” said Xian Zhang, the music director of the New Jersey Symphony Orchestra. Zhang is one of a small number of Asian female conductors leading major ensembles. | “有时候，你会觉得自己好像濒危物种，”新泽西交响乐团(New Jersey Symphony Orchestra)音乐总监张弦说。张弦是为数不多领导大型乐团的亚裔女性指挥家之一。 |
| Zhang, who is Chinese American, said she has at times had difficulty persuading male musicians to take her seriously, including during appearances as a guest conductor in Europe. “They don’t quite know how to react seeing an Asian woman on the podium telling them what to do,” she said. | 张弦是美籍华人，她说有时很难说服男性音乐家严肃对待自己，包括她在欧洲担任客座指挥的时候。“当看到一位亚裔女性在指挥台上对他们发号施令，他们都不知该作何反应，”她说。 |
| The recent rise in reports of anti-Asian hate has aroused calls for change. Musicians have formed advocacy groups and have called on cultural organizations to add Asian leaders and to more prominently feature Asian artists and composers. | 近来反亚裔仇恨事件的增加激发了要求改变的呼声。音乐家们成立了倡议组织，呼吁文化机构增加亚裔领导人，给亚裔艺术家和作曲家更多关注。 |
| But classical music has long been resistant to evolution. Deep-seated stereotypes about Asians continue to surface. In June, the eminent violinist and conductor Pinchas Zukerman was widely denounced after he invoked racist stereotypes about Asians during a Juilliard master class. He later apologized. | 但长期以来，古典音乐一直在抵抗进步。对亚裔根深蒂固的刻板印象不断浮现。6月，著名小提琴家兼指挥家皮恩卡斯·祖克曼(Pinchas Zukerman)在茱莉亚音乐学院(Juilliard)大师班上引述了对亚裔的种族主义刻板印象，遭到广泛谴责。他后来为此道歉。 |
| Even some of the industry’s most successful artists say a climate of casual racism has affected their careers. Sumi Jo, 58, a renowned coloratura soprano from South Korea, described having several roles rescinded because stage directors thought she was not white enough. | 甚至一些业内最成功的艺术家也表示，不经意的种族歧视氛围影响了他们的音乐生涯。58岁的曹秀美是韩国著名花腔女高音，她说自己曾有几次演出被取消，因为舞台导演认为她不够“白”。 |
| “If you’re Asian and you want to be successful,” she said, “you must work 100 times harder, that’s for sure.” | “如果你是想取得成功的亚裔，”她说，“就必须付出多100倍的努力。” |
| Battling Stereotypes | 与刻板印象斗争 |
| Artists of Asian descent have long been the subject of racist tropes and slurs, dating back to at least the 1960s and ’70s, when musicians immigrated to the United States from Japan, Korea and other parts of East Asia to study and perform. A 1967 report in Time magazine, titled “Invasion From the Orient,” reflected the thinking of the era. | 长期以来，亚裔艺术家一直是种族主义言论和诋毁的针对对象，这至少可以追溯到上世纪六七十年代，当时日本、韩国和东亚其他地区的音乐家开始移居美国学习和演出。《时代》周刊1967年的一篇题为《来自东方的入侵》的报道折射出了那个时代的思潮。 |
| “The stringed instruments were physically ideal for the Orientals: Their nimble fingers, so proficient in delicate calligraphy and other crafts, adapted easily to the demands of the fingerboard,” the article said. | “弦乐器很适合东方人的肢体：他们灵活的手指精通于雅致的书法和其他手艺，很容易就能上指板，”那篇文章写道。 |
| Over time, Asian artists gained a foothold in orchestras and on the concert circuit. By 2014, the last year for which data is available, musicians of Asian descent made up about 9 percent of large ensembles, according to the League of American Orchestras; in the United States, Asians represent about 6 percent of the population. In renowned groups like the New York Philharmonic, the number is even higher: Asians now account for a third of that orchestra. (In Europe, it’s often a different story: In the London Symphony Orchestra, for example, three of 82 players, or less than 4 percent, have Asian roots, while Asians make up more than 18 percent of London’s population.) | 随着时间推移，亚裔艺术家在管弦乐团和音乐会舞台上得以立足。根据美国交响乐团联盟(League of American Orchestras)的数据，截至2014年（有数据可查的最后一年），亚裔音乐家在大型乐团中所占比例约为9%；亚裔在美国所占人口比例约为6%。在纽约爱乐乐团(New York Philharmonic)等知名乐团，这个数字甚至更高：该乐团如今有三分之一的成员都是亚裔。（欧洲情况往往不同：例如伦敦交响乐团[London Symphony Orchestra]的82位乐手中只有三人是亚洲血统，占比不到4%，而伦敦亚裔人口比例超过18%。） |
| Yet racist portrayals of Asian artists have persisted. Some have been told by conductors that they look like computer engineers, not classical musicians. Others have been described by audition committees as too weak and youthful to be taken seriously. Still others have been told their names are too foreign to pronounce or remember. | 然而，对亚裔艺术家的种族主义描述依然存在。有些人被乐团指挥告知，他们看起来像计算机工程师，而不是古典音乐家。另一些人则被遴选委员会称为过于柔弱年轻，不值得严肃考虑。还有一些人被告知，他们的名字太陌生，难以发音或记住。 |
| “You get written off as an automaton,” said Akiko Tarumoto, the assistant concertmaster of the Los Angeles Philharmonic. | “你被当作一个机器人给否定掉了，”洛杉矶爱乐乐团(Los Angeles Philharmonic)副首席小提琴手樽元亚希子（Akiko Tarumoto，音）说。 |
| Tarumoto, 44, who is Japanese American, said that musicians of Asian descent in the Philharmonic are sometimes mistaken for each other, and in other ensembles she had heard fellow musicians refer to new hires simply as “Chinese girls.” | 现年44岁的樽元是日裔美国人，她说洛杉矶爱乐乐团里的亚裔音乐家有时会被误认，而在别的乐团，她还曾听到同行音乐家会把新成员简单地称为“中国女孩”。 |
| Celebrated soloists have tried to turn the stereotypes on their head. Lang Lang has said that his embrace of an exuberantly expressive style may have been in part a reaction to perceptions that Asians are cold and reserved. | 著名独奏音乐家试图颠覆这些刻板印象。郎朗曾说过，他选择充满激情的表现风格，某种程度上可能也是对亚洲人冷漠保守印象的反应。 |
| Yuja Wang, another Chinese pianist, has tried, with mixed success, to satirize the stereotype of Asians as robots, which scholars attribute partly to misconceptions about the Suzuki method of teaching music. (It originated in Japan in the 1950s and was criticized in the West for producing homogeneous musicians, but remains in wide use, including among non-Asian students.) In 2019, Wang joined a comedy duo for a contentious concert at Carnegie Hall that was filled with crude jokes about her sexual appeal and Chinese heritage. | 另一位中国钢琴家王羽佳曾试图讽刺把亚洲人当成机器人的刻板印象，但结果喜忧参半，学者将这种刻板印象部分归因于人们对铃木音乐教学法的误解。（这一教学法起源于20世纪50年代的日本，因培养出同质化的音乐家而受到西方批评，但仍被广泛采用，包括非亚裔学生。）2019年，王羽佳与一对音乐喜剧组合在卡内基音乐厅举行了一场存在争议的音乐会，期间充斥着关于她的性感打扮和中国传统的粗俗玩笑。 |
| Wang, 34, said in an interview that early in her career she faced stereotypes that she was technically adept but emotionally shallow. “I didn’t like how they just categorized us and pigeonholed us,” she said. | 34岁的王羽佳在接受采访时表示，在她职业生涯早期，人们对她的刻板印象是技术娴熟但情感浅薄。“我不喜欢他们将我们分门归类的方式，”她说。 |
| While she said she has rarely experienced overt racism, Wang said she has at times felt like an outsider in the industry, including when others mispronounce her name or do not appear to take her seriously. | 虽然王羽佳说她几乎没有经历过公开的种族歧视，但有时也觉得自己就像这个行业里的局外人，比如在别人念错她的名字，或是似乎没把她当回事的时候。 |
| Other prominent soloists have been reluctant to speak publicly about race. Lang, Yo-Yo Ma, Midori and the star pianist Mitsuko Uchida declined to comment for this article. | 其他知名独奏音乐家一直不愿公开谈论种族问题。郎朗、马友友、五嶋绿和明星钢琴家内田光子(Mitsuko Uchida)都拒绝为本文置评。 |
| Zubin Mehta, 85, an Indian-born conductor who is a towering figure in the field, said he had never experienced racism and did not believe the industry discriminated against Asians. He said he had “complete sympathy” for those who felt they were mistreated, but that he was not aware of serious problems. | 出生于印度的85岁指挥巨擘祖宾·梅塔(Zubin Mehta)表示，自己从未经历过种族歧视，也不认为这一行业歧视亚裔。他说，他“完全同情”那些觉得自己受到不公对待的人，但他并没有发觉存在严重的问题。 |
| Ray Chen, a Taiwanese Australian violinist who has built a wide following on social media, said that audience members have expressed surprise that he can play Mendelssohn and other composers, saying that music is not in his blood. While he believes there is less discrimination now, he said he struggled to get opportunities in Europe earlier in his career — in part, he felt, because of his Asian heritage. | 出生于台湾的澳大利亚华裔小提琴家陈锐在社交媒体上拥有众多粉丝，他说，有观众会对他能演奏门德尔松(Mendelssohn)等作曲家的作品表示惊讶，还说那些音乐并不在他的血液里。虽然他认为现在歧视减少了，但他说在自己职业生涯早期，很难获得来自欧洲的机会，他觉得部分原因在于自己的亚洲血统。 |
| “People get offended that you’re not adhering to the rules, the culture,” said Chen, 32. “This is something that’s so wrong with the classical music industry: the fear of something new.” | “人们会因为你不循规蹈矩、违背文化传统而感到不快，”现年32岁的陈锐说。“这就是古典音乐界的一大弊端：对新事物的恐惧。” |
| Female artists of Asian descent say they face additional obstacles, including stereotypes that they are exotic and obedient. Soyeon Kate Lee, 42, a Korean American pianist, said a conductor once described her in front of other orchestra leaders as “cheap and good” and suggested she perform a lap dance. | 亚裔女性艺术家则表示，她们还面临着其他障碍，包括对她们的刻板印象，认为她们是有异域风情的、顺从的。42岁的韩裔美籍钢琴家素妍·凯特·李（Soyeon Kate Lee，音）透露，一位指挥家曾在其他乐团负责人面前说她“质优价廉”，并建议她跳一段大腿舞。 |
| Xenophobic suggestions that Asians are taking away orchestra jobs or spots at conservatories are also common. Yuka Kadota, a violinist for the Milwaukee Symphony Orchestra, said Asian musicians are seen as “some sort of invasive species, like carp or murder hornets.” | 仇外情绪也很普遍，认为亚裔抢走了管弦乐团的工作或音乐学院的名额。密尔沃基交响乐团(Milwaukee Symphony Orchestra)的小提琴家角田佑佳（Yuka Kadota，音）说，亚裔音乐家被视为“某种入侵物种，就像鲤鱼或杀人黄蜂”。 |
| Kadota, 43, who is Japanese American, said she felt “self-conscious and slightly apologetic” during a recent performance of a Brahms string quintet, because four of the five players were women of Asian descent. | 现年43岁的角田是日裔美国人，她说在最近一次演奏勃拉姆斯(Brahms)的弦乐五重奏时，她感到“难为情而且有点抱歉”，因为五名演奏者中有四人是亚裔女性。 |
| “I don’t want people to think we’re taking over,” she said. | “我不希望人们认为我们正在接管（这一行），”她说。 |
| A Dearth of Asian Artists | 亚裔艺术家的匮乏 |
| Even as people of Asian descent make strides in orchestras, they remain underrepresented in many parts of the music industry, including conducting, composition and opera. | 尽管亚裔在管弦乐团中占据了一席之地，但他们在音乐行业的许多领域，包括指挥、作曲和歌剧，仍然没有得到足够的代表。 |
| “I try to accept rejections as part of my reality,” said the conductor Mei-Ann Chen, the music director of the Chicago Sinfonietta and the incoming leader of Recreation — Grosses Orchester Graz in Austria. | “我试着把拒绝当作现实的一部分来接受，”指挥家陈美安说道，她是芝加哥小交响乐团(Chicago Sinfonietta)音乐总监，并即将就任奥地利格拉兹创艺乐团(Recreation — Grosses Orchester Graz)首席指挥。 |
| Chen, 48, who is from Taiwan, said donors had canceled meetings and presenters had withdrawn performance opportunities after learning she was Asian. “I had to have a thick skin to come this far,” she said. | 48岁的陈美安生于台湾，她说在得知她是亚裔后，一些赞助人会取消会议，主持人也会撤掉她的演出机会。“我得靠脸皮厚才能走到这一步，”她说。 |
| Arts organizations have in recent years vowed to feature works by a wider range of composers. But artists of Asian descent say that, aside from concerts to celebrate holidays such as the Lunar New Year, they have largely been left out. | 近年来，各艺术组织纷纷承诺，要主打更多元作曲家的作品。但亚裔艺术家表示，除了庆祝春节等节日音乐会，他们基本上还是被排除在外。 |
| Works by Asian composers comprise about 2 percent of pieces planned by American orchestras in the 2021-22 season, according to an analysis of 88 orchestras by the Institute for Composer Diversity at the State University of New York at Fredonia. | 根据纽约州立大学弗里多尼亚分校(State University of New York at Fredonia)的作曲人多元化研究所(Institute for Composer Diversity)对88家管弦乐团的分析，在2021-22演出季美国管弦乐团的计划曲目中，只有约2%是亚裔作曲家的作品。 |
| The dearth of Asian artists is particularly striking in opera, which has long struggled with a lack of racial diversity. At the Metropolitan Opera, the largest performing arts organization in the United States, 14 of 233 singers announced for principal roles next season, or about 6 percent, are of Asian descent. Four appear in the same production: an abridged holiday version of Mozart’s “The Magic Flute.” (Asians make up about 14 percent of New York City’s population.) | 亚裔艺术家的稀缺在歌剧领域尤为突出。长期以来，歌剧一直在与缺乏种族多元化作斗争。大都会歌剧院(Metropolitan Opera)作为美国最大的表演艺术组织，在已经宣布的下个演出季主要角色的233位演唱者中，只有14位——也就是大约6%——是亚裔。其中四人都在同一个作品里：莫扎特《魔笛》(The Magic Flute)的节日简化版。（亚裔约占纽约市人口的14%。） |
| There are now a large number of Asians in important conservatory vocal programs; the Manhattan School of Music said that 47 percent of the students currently in its vocal arts department are of Asian descent. But they are not anywhere close to that well represented on opera stages. | 如今音乐学院的重点声乐课程都有大量的亚裔学生；曼哈顿音乐学院(Manhattan School of Music)表示，该校声乐艺术系目前47%的学生是亚裔。但这些亚裔在歌剧舞台上远没有得到足够的呈现。 |
| Nicholas Phan, 42, a tenor of Chinese and Greek descent, said Asians tend to be seen as technically precise yet artistically vacuous. A teacher of Phan’s once told him he should adopt a non-Chinese surname so that competition judges and casting directors would not view him as “just another dumb Asian singer.” | 现年42岁的范尼古拉斯(Nicholas Phan)是拥有中国和希腊血统的男高音，他说亚裔往往被认为技术上严谨，但在艺术上空洞。一位老师曾对他说，他应该使用非中国姓氏，这样比赛评委和选角导演就不会把他当作“又一个无趣的亚裔歌唱家”。 |
| When Asians win spots in opera productions, they are often typecast in roles such as Cio-Cio San in “Madama Butterfly” or the titular princess in “Turandot.” Those classics have been criticized for racist portrayals of Asians — though the prominent soprano He Hui, who is Chinese, said she loved singing Butterfly, one of her signature parts. | 当亚裔在歌剧作品中获得一席之地，所能扮演往往是《蝴蝶夫人》(Madama Butterfly)中的巧巧桑(Cio-Cio San)，或是《图兰朵》(Turandot)中的公主这类同质角色。这些经典作品都因对亚洲人的种族主义描绘而受到批评——但著名中国女高音和慧说，她喜欢唱《蝴蝶夫人》，这是她的代表角色之一。 |
| Nina Yoshida Nelsen, a mezzo-soprano, said that of more than 180 performances she had given in the past decade, only nine were in roles that are not considered stereotypically Asian. | 女中音妮娜·吉田·尼尔森（Nina Yoshida Nelsen，音）表示，在过去10年她参与的180多场演出里，只有九场的角色算不上典型的亚洲人。 |
| “My success has been predicated on my tokenization,” said Nelsen, 41, who is half Japanese. She wrote a Facebook post in March calling on others to “stop seeing my color and the shape of my eyes as something different — something to ‘typecast.’” | “我的成功建立在我被符号化的基础上，”有一半日本血统、41岁的尼尔森说道。今年3月，她在一篇Facebook帖子中呼吁其他人“别再把我眼睛的颜色和形状当作异类、当作‘特型角色’了”。 |
| Within a week, Nelsen said, she had three offers, none of them for stereotypical roles. | 尼尔森说，不到一周，她就收到了三份工作邀请，其中没有一个是刻板印象的角色。 |
| Pushing for Change | 推动变革 |
| “It’s time for us to speak up and not be afraid,” said Sou-Chun Su, 53, a Taiwan-born violinist in the Atlanta Symphony Orchestra since 1990. It was difficult, he said, to get leaders of the orchestra interested in concerns raised by Asian players until six people of Asian descent were shot and killed in Atlanta in March, which prompted widespread outcry. | “我们是时候大声说出来，不要害怕了，”53岁的苏淳素（Su-chun Su，音）说，他是台湾出生的小提琴手，自1990年以来一直在亚特兰大交响乐团工作。他说，要让乐团领导人对亚裔乐手提出的问题感兴趣曾经是很困难的，直到今年3月六名亚裔人士在亚特兰大被枪杀，引发了广泛的抗议。 |
| “It shouldn’t have taken something like that,” Su said. (In a statement, the orchestra said it was working to build a more inclusive culture, though it acknowledged “we have much more to do.”) | “这样的事情不应该发生，”苏淳素说。（乐团在一份声明中说，它正在努力建立一种更具包容性的文化，不过它承认“我们还有很多工作要做”。） |
| Hyeyung Yoon, a former member of the Chiara String Quartet, last year founded Asian Musical Voices of America, an alliance of artists, because she felt performers of Asian descent had no forum to discuss issues of racism and identity. The group hosts monthly meetings on Zoom. | 尹惠英（Hyeyung Yoon，音）曾是基娅拉弦乐四重奏(Chiara String Quartet)的成员，她认为亚裔表演者没有讨论种族主义和身份问题的论坛，因此于去年成立了艺术家联盟“美国亚裔音乐之声”(Asian Musical Voices of America)。该组织每月在Zoom上举行会议。 |
| Yoon said cultural institutions often exclude Asians from discussions about bringing more diversity to classical music because they are assumed to be adequately represented. “The Asian experience is hardly present,” she said. | 尹惠英说，文化机构经常把亚裔排除在古典音乐多样性的讨论之外，因为他们被认为已经有了充分的代表性。“亚裔的经验几乎不存在，”她说。 |
| Some artists have taken to social media to challenge their employers. Miran Kim, a violinist of South Korean descent in the Metropolitan Opera’s orchestra, recently wrote on Twitter about her “exhaustion and frustration” playing works with racist caricatures, such as “Madama Butterfly.” She also criticized the Met for selling a Butterfly-themed sleep mask described as evoking “exotic elegance” and mimicking “the alluring eyes of an Indian princess or Japanese Geisha girl.” (The mask was removed from the online store and the Met apologized.) | 一些艺术家在社交媒体上挑战他们的雇主。大都会歌剧院(Metropolitan Opera)管弦乐团的韩裔小提琴家米兰·金(Miran Kim)最近在Twitter上写道，她在演奏了《蝴蝶夫人》等带有种族主义夸张意味的作品时，感到“疲惫和沮丧”。她还批评大都会歌剧院出售一款蝴蝶夫人主题的睡眠眼罩，称其唤起“异国情调的优雅”，是在模仿“印度公主或日本艺妓的迷人眼睛”。(眼罩已从网店下架，大都会歌剧院为此表示道歉。) |
| “We’re not included,” Kim, 31, said in an interview, referring to the lack of Asians in leadership positions. “We’re not part of the conversation.” | “我们不被包括在内，”31岁的金在接受采访时说，她指的是领导职位上缺少亚裔。“我们不是对话的一部分。” |
| There have been some signs of progress. San Francisco Opera will next month welcome Eun Sun Kim, a South Korean conductor, as its music director, the first woman to hold such a post at a major American opera company. | 目前有了一些进展的迹象。美国旧金山歌剧院(San Francisco Opera)将于下个月迎来韩国指挥家金恩善(Eun Sun Kim)出任音乐总监。她是第一位在美国主要的歌剧院中担任音乐总监的女性。 |
| Yet significant challenges remain. David Kim, the violist at the San Francisco Symphony who is questioning his career, said he has grown tired of clashing with colleagues over issues like the tone of public statements on racism. He also feels the orchestra does not do enough to feature composers of color. | 然而，重大挑战依然存在。正在质疑自己职业生涯的旧金山交响乐团中提琴手戴维·金说，他已经厌倦了就种族主义问题发表公开声明的语气等问题上与同事发生冲突。他还认为管弦乐队在使用有色人种作曲家作品方面做得不够。 |
| Kim, who has played in the ensemble since 2009, said he is grappling with a sense of loss after realizing that his work as a classical musician no longer aligns with his values. “I’m not proud of being a part of an industry that is so self-unaware, that’s so entitled and has so little regard for social justice,” he said. | 从2009年开始在乐团演奏的戴维·金说，他意识到作为古典音乐家的工作不再符合自己的价值观，他正在努力摆脱失落感。他说：“我不为自己是这个行业的一员感到骄傲，这个行业没有自我意识，却很有特权意识，而且非常不重视社会公正。” |
| He says he believes change will not come until classical music — “racism disguised as art,” he called it — reckons with its legacy of intolerance. | 他说，他相信在古典音乐——他称之为“伪装成艺术的种族主义”——对其遗留的不容忍问题进行反思之前，变革不会到来。 |
| “On the surface, Asians are accepted in these realms of orchestras, ensembles and as soloists,” Kim said. “But are we really accepted?” | “从表面上看，亚裔在管弦乐队、合奏和独奏领域都被接受，”戴维·金说。“但我们真的被接受了吗?” |
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