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He said that the targeting of cultural institutions like the Met was surprising, given that they typically have limited financial resources.
他说，像大都会歌剧院这样的文化机构被当作目标是令人惊讶的，因为这些机构的财力通常有限。
Nevertheless, he said, the attackers might have been motivated by the audacity of targeting such a global and glittering brand.
不过，他说，袭击者将目标对准一个如此全球化和耀眼的品牌，可能是想彰显其胆大妄为。
"Every organization needs to care about cybersecurity, even cultural organizations like the Met," Cappos said. This attack, he added, underscored that "nobody is safe."
"每个组织都需要关心网络安全，即使是像大都会歌剧院这样的文化组织。"卡波斯说。他补充说，这次袭击强调了"没有谁是安全的"。
The Met--which never missed a curtain last year, even when the Omicron variant shut down wide swaths of Broadway, dance performances and concerts -- has managed to proceed with all of its performances through the current cyberattack, staging Verdi's "Rigoletto" and "Aida" and its new production of Kevin Puts's "The Hours," starring Renée Fleming, Kelli O'Hara and Joyce DiDonato, which was simulcast as planned to movie theaters around the world on Saturday as part of the Met's Live in HD series.
即使是在奥米克戎变种使大批百老汇音乐剧、舞蹈表演和音乐会停止演出的情况下，大都会歌剧院去年也从未错过一场表演。在当前的网络攻击中，大都会歌剧院成功地继续进行了所有的表演，上演了威尔第的《弄臣》和《阿依达》，以及由蕾妮·弗莱明、凯莉·奥哈拉和乔伊斯·迪多纳托主演的凯文·普茨的新作《时时刻刻》，这部剧按计划于周六在世界各地的电影院同步播出，作为大都会歌剧院高清直播系列的一部分。
With war raging in Europe, record inflation and the continuing effects of the pandemic, cultural institutions across the world, including the Met, have been struggling economically.
随着欧洲战火肆虐、通货膨胀再创新高和疫情的持续影响，包括大都会歌剧院在内的世界各地的文化机构一直深陷经济困境。
But Gelb said the Met was resilient. "Our lives have been turned upside down," he added. "But we'll get through it."
但盖尔布表示，大都会歌剧院是有韧性的。"我们的生活被颠覆了，"他补充道。"但我们会挺过去的。"
The operagoers who went to the Met on Tuesday evening were transported back to a grand operatic vision of ancient Egypt, with soaring arias and choruses telling a story of doomed love and divided loyalties.
周二晚上去大都会歌剧院的观众们被带回了宏伟的古埃及，高亢的咏叹调和合唱讲述了命中注定的爱情悲剧和破碎分裂的赤胆忠心。
One scene stealer was an unruly pony named Sandy who stomped its hoof and shook its head aggressively during the larger-than-life Triumphal Scene, eliciting nervous laughter from the audience.
一匹名叫桑迪的不守规矩的小马非常抢戏，在比现实更夸张的凯旋场景中，它跺着蹄子，凶狠地摆动脑袋，引起了观众紧张的笑声。
The audience was able to forget, at least temporarily, that it was at the center of an opera house under siege.
观众于是能够至少暂时忘记，它置身于一座被围困的歌剧院中心。
