《白毛女》是中国歌剧史上有划时代意义的里程碑。《白毛女》一问世,就曾随人民军队的脚步,走遍各个根据地和解放区以至全中国的城市和乡村。喜儿、杨白劳、大春、赵大叔、张二婶、王大婶等活生生的人物形象,深深打动了干百万与他们同命运的农民的心,教育他们起来跟着共产党走上解放的道路。在解放战争年代里,翻了身的青年农民,入伍后,曾将“为喜儿报仇”、“为杨白劳报仇”的口号刻在枪杆上,奔赴战场,勇猛杀敌。参加过或看过《白毛女》演出的同志们,常常兴奋地回忆起当年的热烈情景。1961年我见到老画家李可染同志,他说:“1949年北京刚解放,你们演《白毛女》,楼上一排正中间的一个座位永远是我买下来的。你们演了一个月,我看了一个月。每天看戏,我都在画台上的每一个人物,因为这是我第一次在歌剧舞台上看到了劳动人民。” “White-Haired Girl” is an epoch-making milestone in the history of Chinese opera. As soon as the “White-Haired Girl” came out, it traveled with cities and villages of all the bases and liberated areas and all of China with the pace of the People’s Army. The vivid characters such as Xi’er, Yang Bailan, Spring, Zhao Uncle, Auntie Zhang and Aunt Wang have deeply touched the hearts of millions of peasants who farewell with them and educated them to follow the path of liberation of the Communist Party. In the era of the Liberation War, the young peasants who turned over were engraved on the barrel with their slogans of “revenge for Xi’e” and “revenge for Yang Bailao” after joining the army. They went to the battlefield and bravely fought the enemy. Comrades who have participated in or have seen the “White-Haired Girl” show often recall with excitement the warm atmosphere of the year. In 1961, when I met Comrade Li Keran, an old painter, he said: “When Beijing just liberated in 1949, you acted as a” white-haired girl, “a seat in the middle of the upstairs row was bought by me forever. I watched for a month, and every day I watched the opera, I was on the stage for everyone, because this was the first time I saw the working people on the opera stage. ”