“The Problem With the Klinghoffer Opera” currently playing at New York’s Metropolitan Opera, is explored by Jonathan S. Tobin at Commentary. Kudos for using the singular version of the word “problem” in Tobin’s headline:
Defenders of Klinghoffer will claim, not without some justice, that many staples of the classic operatic repertory were once politically controversial and subjected to censorship. But comparisons with the operas of Giuseppe Verdi, to take just one prominent example, which were often rightly seen as subverting repressive monarchies or promoting the cause of Italian freedom, and Adams’ excursion into the Middle East conflict, are not apt. The libretto of “Klinghoffer” rationalizes terrorism, denigrates Jews and treats the plight of the Palestinians as morally equivalent to the Holocaust. Whether or not one accepts the notion that Adams’ creation is a musical masterpiece, as the Met insists, the point of the piece is one that is not merely offensive. It is, in its own way, a part of the global campaign of delegitimization of the Jewish state and the Jewish people. As such, the decision of one of the world’s leading arts organizations as well as one of the great cultural institutions of the city with the world’ largest Jewish populations, to produce this atrocity, even if won’t be shown around the world, is deeply troubling.
The problem with Klinghoffer is not, as some of its defenders have always claimed, that it humanizes the Palestinians. But by using the story of the hijacking of the Italian cruise ship, Achille Lauro as the setting for its attempt to juxtapose the Jews and the Palestinians, it creates a false moral equivalence thought ought to offend all decent persons, especially in the city where the 9/11 attacks occurred less than 13 years ago.
(Additionally, perhaps Mel Brooks should slap a “don’t try this at home, kids” sticker on DVDs of The Producers. But as it always must, reality finally catches up to even the zaniest of satirists.)
Update: Target audience for opera discovered.