Absolute Talk of the Town In Washington/New York Now---Opening of 'The Death of Klinghoffer' At the Metropolitan Opera

WAPO REVIEW---DOES NOT RAVE

 REVIEW-- HARDLY SEEMS WORTH THE FUSS: OPERA IGNITES PASSION OUTSIDE THEATER BUT NONE ONSTAGE 

EXTREMELY CONTROVERSIAL DOCU-OPERA  AT LINCOLN CENTER WE CAN SELF-CENSOR

ALWAYS INTERESTING TO BE ON THE EAST COAST WITH THE LOCALS TO SEE WHAT PEOPLE ARE REALLY TALKING ABOUT OVER DINNER, DRINKS AND AT PARTIES.

This trip is no exception.  It sure didn't take me long to observe what's at the top of everyones' conversation list this fall: The new (really old as it was written in 1991) opera---The Death of Klinghoffer---just opening at the Metropolitan Opera in Manhattan Monday night for a month run.

Four New Yorkers give their diverse opinions

Of course I had no opinion on the subject as I---a cultural un-elite from the land of The Grand Ole Opry---wasn't even aware  such an opera existed, let along the monumental firestorm it's been stirring  up on the east coast.  I had never heard this controversial opera, of all things.  One where people of all persuasions are hot under the collar calling it  among many other things antisemitic,  historically incorrect and a gross over-simplification of the horrible terrorist attack on a cruise ship  the Acilli Lauro,  in the Mediterranean by the Palestine Liberation Front in 1985.  Leon Klinghoffer was a  Jewish passenger on  the ship who was shot in the back of the head before being pushed overboard in his wheelchair by the terrorist thugs.

Since I have not seen the opera and being much more pro-Israel than pro-Palestine and certainly anti, anti terrorist (and legitimizing these radical Islamic thugs),  I can only read the news and reviews  and comment briefly:   As a strong First Amendment proponent,  I probably will never see this opera---but would in fact try to set the record straight on any historical inaccuracies that exist---which former New York City Mayor Rudy Giuliani is doing in fine protester form.  However,  I do believe it has the right to be produced in New York and anywhere else that's willing to take on the controversy.

Some say the opera gives the voices of terrorists a sympathetic ear, and that may be so.  Certainly the fact that  its author John Adams lives in Berkeley makes me suspicious.  Still, for those who want to discover, engage and refute the operas main points and issues, it might be a festival of critical thinking into recent history.  That's undoubtedly why so many  cultural elites are talking about it.

Remember, the First Amendment guarantees we all will offended early and often, and often besieged with fantasy masking as truth and half-truth and narratives that are used to bludgeon the opposing side and  insert politic correctness to rewrite history. Our Constitution doesn't protect us from poor taste, false narratives and a lack of judgment.

Would I support this opera with my money or my time?  Absolutely not.  Would I defend the Met's decision to produce it however objectionable?  Yes, I would.  Would I support any donor especially Jewish ones for no longer making the Met the object of his or her philanthropic largess?  Absolutely I would.

Let the chips fall at the Met where they may, after The Death of Klinghoffer.   This opera is a quickly passing fad and will fade away soon.

Take a look at the clip: