The Metropolitan Opera’s censorship of The Death of Klinghoffer
Mavi Marmara Massacre Whitewash Redux
UN Report on Mavi Marmara Massacre
The decision by New York City’s Metropolitan Opera to cancel its plans for worldwide high-definition video transmission and radio broadcast of John Adams’ The Death of Klinghoffer is a scandalous and cowardly capitulation to right-wing forces, with far-reaching implications.
Adams’ opera, with a libretto by Alice Goodman, recounts the October 1985 hijacking of the Achille Lauro cruise ship by four members of the Palestine Liberation Front, during which the terrorists killed 69-year-old Leon Klinghoffer, confined to a wheelchair, and threw his body overboard.
The claim that the work is “anti-Jewish” (per the cover of Rupert Murdoch’s gutter New York Post on June 18) is libelous and absurd. It can only be credited by those who have neither seen the opera nor read the text of its libretto—or who have an ideological axe to grind. The musical piece, which opens with choruses of “Exiled Palestinians” and “Exiled Jews,” respectively, is a poetic, somber effort to come to terms with the historical tragedy of the Palestinian-Israeli conflict. The only anti-Semitic lines (often cited by opponents of the opera) are given to a character nicknamed “Rambo,” an obvious sadist and thug.
The opera’s real crime is to give a voice to the Palestinian people and identify their oppression. The “Chorus of Exiled Palestinians” begins, “My father’s house was razed/In nineteen forty-eight/When the Israelis passed/Over our street.” Any reference to the historical reality of the expulsion of hundreds of thousands of Palestinians is intolerable to the pro-Zionist elements. Munich, the 2005 film written by Tony Kushner and directed by Steven Spielberg, was subject to a similar smear campaign.