The New York Metropolitan Opera will open their production of ‘The Death of Klinghoffer’ on October 20th, an opera based on the 1985 hijacking by Palestinian terrorists of an Italian cruise ship named the Achille Lauro, in which a 69-year-old wheelchair-bound Jewish man named Leon Klinghoffer was shot in the head before being thrown overboard.
Though the opera will be staged as planned, The Met recently cancelled plans for a cinema simulcast of the production, citing fears that it may inadvertently incite antisemitism due to what’s been characterized as its sympathetic view of the terrorists.
On June 18th, the Guardian’s classical music critic expressed his outrage at The Met’s decision in the following article, in which he dismissed “concern in the international Jewish community” about the opera’s propensity to “fan global antisemitism”.
So, we thought it would be helpful to reproduce an open letter written to the New York Metropolitan Opera by Myron Kaplan, a senior research analyst at CAMERA who also happens to be a serious opera fan.
Dear Mr. Gelb,
As a longtime fan of grand opera, I have attended numerous superb live Met performances both at Lincoln Center and via live Saturday matinée performance HD transmissions to theaters (not to mention listening to numerous Met Saturday matinée live radio broadcasts)—and have greatly admired your accomplishments at the Met. So it was with great dismay and disappointment that I learned that the Met had scheduled for the 2014-2015 season its first-ever performances of John Adams’s “The Death of Klinghoffer.” Mediocre music is the least of the work’s problems. Even more serious is a tendentious story line and an inflammatory libretto that falsely maligns Israel and the Jewish people.
This story line can be characterized fairly as “Understandably aggrieved Palestinian Arabs wreak vengeance on disabled Jew standing in for all his perfidious co-religionists.” This is an obscene inversion of the reality that was the Achille Lauro cruise ship hijacking and subsequent terrorist murder of passenger Leon Klinghoffer. In this regard, it must be noted that the librettist, Alice Goodman, during the writing of the opera rejected her American Jewish heritage by joining the Anglican Church, the leadership of which is known for its hostility toward Israel. Goodman is now a parish priest in England.
The most troubling aspect of the Met’s scheduling of “The Death of Klinghoffer” is the live HD transmission of this opera, set for November 15, 2014—one of 10 such transmitted opera performances planned for the coming season—to more than 2,000 theaters in 66 countries (including more than 700 U.S. theaters). This would make the live performance immediately available to hundreds of thousands of people (and potentially millions according to the Met), giving wide international distribution to what is, at its heart, an anti-Jewish slander.
I’m aware that it may not be feasible at this juncture to cancel all or any of the eight performances of this opera scheduled during the period of October-November 2014, but in order to minimize the harm, the Met should substitute another opera for the HD transmission.
As alluded to above, the opera is based on the 1985 murder of a helpless 69-year-old American Jewish man, Leon Klinghoffer, confined to a wheelchair—shot in the head while vacationing with his wife on a cruise ship in the Mediterranean Sea. He was murdered by Palestinian Arab hijackers belonging to the Palestine Liberation Front, a component of Yasser Arafat’s Palestine Liberation Organization, and his body dumped into the water. The choice of the title, “The Death of Klinghoffer” and not “The Murder of Klinghoffer,” signals the work’s moral evasion and misrepresentation. In a sense, it is consistent with the PLO’s initial comments on the murder, that either Klinghoffer had died of natural causes or his wife pushed him overboard to be able to claim life insurance. The title’s sanitizing of murder is, however, also consistent with the opera’s anti-Jewish tone. Instead of properly characterizing the Palestinian hijackers of the cruise ship as permanent prisoners of their own rage originating from cultural indoctrination, Adams/Goodman impart idealism to them.
The opera opens with these words sung by the Chorus of Exiled Palestinians: “My father’s house was razed—In nineteen forty-eight—When the Israelis passed—Over our street.” Here, Israelis are likened to the avenging Angel of Death in the biblical story of the original Passover, exacting punishment on the ancient Egyptians after Pharaoh, breaking a promise, refused to let the Jewish people leave Egypt. This amounts to an artistically licensed slander, falsely suggesting that the Israelis, besieged by the armies of five Arab countries and Palestinian Arab “irregulars” bent on driving them into the sea, exacted widespread revenge upon Arabs residing in the ancient Jewish homeland.
Hijacker Rambo invokes anti-Semitic canards: “Wherever poor men—Are gathered they can—Find Jews getting fat—You know how to cheat—The simple, exploit—The virgin, pollute—Where you have exploited—Defame those you cheated—And break your own law—With idolatry.” Rambo’s lyrics, with virtually no artistic embellishment, could have been lifted from Nazi publications like Der Sturmer, as even a casual glance at the archives would confirm.
Repeatedly, the Palestinians are portrayed as humane idealists. Hijacker Molqi sings: “We are—Soldiers fighting a war—We are not criminals—And we are not vandals—But men of ideals.”
Hijacker Mamoud appears gentle and grieving as he tells of his mother and brother: “She was killed—With the old men—And children in—Camps at Sabra—And Shatilla— Where Almighty God—In His mercy showed—My decapitated—Brother to me—And in His mercy—Allowed me to close—My brother’s eyes—And wipe his face.”
This tear jerker falsely implies that Israelis, rather than members of the Lebanese Christian Phalange militia, massacred hundreds of Palestinian Arabs on Sept. 16-18, 1982 in the Sabra and Shatilla refugee districts. It gives no hint that the Phalangists acted in retribution for massacres of Christian Lebanese by the PLO and the September 14 assassination of the country’s Christian president-elect, Bashir Gemayel.
Mamoud shows himself to be consumed with seemingly permanent hate and a vision of martyrdom: “The day that I—And my enemy—Sit peacefully—Each putting his case—And working towards peace—That day our hope dies—And I shall die too.” But even this negative portrayal is mitigated by Mamoud’s meditation on the birds in the air— which may encourage the viewer to sympathize with him.
Leon Klinghoffer’s aria expressing his humanity and railing against the terrorists is insufficient to mitigate the harmful impression left by Goodman’s biased libretto and may even be seen as unnecessarily agitating the terrorists: “I came here with—My wife. We both—Have tried to live—Good lives. We give—Gladly, receive—Gratefully, love— And take pleasure—In small things, suffer—And comfort each other—We’re human. We are—The kind of people—You like to kill—Was it your pal—Who shot that little girl—At the airport in Rome?—You would have done the same—There’s so much anger in you—And hate.”
Goodman’s biased libretto condemns Jews and Israelis as a group, while the Arab hijackers, when condemned, are characterized as violent or revengeful individuals without regard to their ethnic/religious group. If Adams/Goodman intended some semblance of balance in this respect then they would have included, as well as anti-Jewish canards, anti-Arab/Muslim charges such as “Muslims want to destroy all infidels—their Koran tells them to do this.” But there is no semblance of this in this opera.
Then there is the matter of the renewed cruelty this Met production, not so much fiction but rather propagandistically manipulated facts, is likely to inflict upon the Klinghoffer family. After the 1991 premieres of the opera, The Telegraph (London) reported that Mr. Klinghoffer’s two daughters, Lisa and Ilsa, attended a New York production of the opera in 1991, which they described as “appalling” and “anti-Semitic.” A New York Times article reported on the antipathy toward Adams/Goodman by Lisa and Ilsa Klinghoffer: “We are outraged at the exploitation of our parents and the cold-blooded murder of our father as the centerpiece of a production that appears to us to be anti-Semitic.”
If it’s necessary to provide at least one first-time HD transmission of a modern opera composed after 1930, there are two excellent candidates already in the Met’s 2014-2015 schedule: Shastikovich’s ‘Lady MacBeth of Mtsensk” and Stravinsky’s “The Rake’s Progress,” both of which, according to critics, have excellent productions, conductors and singers. The Shastikovich substitution would involve merely a replacement of November 15 on the HD schedule with November 29 currently scheduled as a Saturday matinée performance of this opera. The Stravinsky substitution would involve replacement of November 15 on the HD schedule with May 9, 2015 already scheduled as a Saturday matinée performance of this opera.
Otherwise, classic operas already scheduled at the Met in 2014-2015, but not scheduled for HD broadcast, include “Aida”—currently scheduled for a Met evening performance on the same day, November 15, as the HD transmission. Why not substitute it on that day with the Adams opera? This magnificent Verdi opera is one of the favorites of opera fans worldwide. Certainly it would be a much greater drawing card than the Adams opera in all or nearly all of the countries. Other possibilities include “La Traviata,” “Magic Flute,” and “Barber of Seville.” For “La Traviata,” replace November 15 on the HD schedule with December 27, currently scheduled as a matinee performance of this opera. For “Magic Flute,” replace November 15 on the HD schedule with November 8, currently scheduled as a matinee performance of this opera. For “Barber of Seville,” replace November 15 on the HD schedule with November 22, currently scheduled as a matinee performance of this opera.
Mr. Gelb, I trust that you will reverse an unfortunate decision just as you did in 2012 when, displeased with Opera News reviews of Met productions, you barred the magazine from subsequent reviews. Following an uproar from opera fans, you reversed the brief ban, forthrightly admitting to having made a mistake. Live transmission of “The Death of Klinghoffer,” a slanderous anti-Jewish and anti-Israeli concoction, is much more grave than the contretemps over Opera News. Mr. Gelb, we urge you, for the sake of the Met’s reputation and the constant struggle against anti-Semitism and anti-Zionism, to at least provide an HD transmission substitution.