Latest update: June 26th, 2014
The answer to these questions is more than obvious. But if they wouldn’t tolerate a pro-al Qaeda or Klan opera, why is it that they think the Met is right to produce one whose purpose is to put a Jewish victim on the same moral plane as his terrorist murderer whose goal is not some abstract plea for justice for the downtrodden but the destruction of the only Jewish state on the planet?
What the Times doesn’t understand is that the problem with the Klinghoffer opera is not that it is controversial but that it is even-handed about a subject about which no decent person ought to be neutral. Indeed, Adams won a Pulitzer Prize for his “On the Transmigration of Souls,” a choral piece commemorating 9/11 that managed to discuss that atrocity without giving equal time to al Qaeda.
To, as the Times put it, “give voice to all sides in this terrible murder but offer no resolutions” as this opera does, is to implicitly endorse the cause of the murderers and to degrade their victims. Just as no New Yorker thinks it necessary to keep an open mind about 9/11 or the Klan, the rights and wrongs of Klinghoffer’s murder are not a matter of opinion.
But it is hardly surprising that a newspaper whose record of slanted coverage and biased opinion against Israel would think this the sort of issue about which informed people may disagree. The Met had no business producing this amoral piece. It is to be hoped that, by one means or another, it never disgraces the stage of America’s leading opera company.Jonathan S. Tobin
About the Author: Jonathan S. Tobin is senior online editor of Commentary magazine and chief political blogger at www.commentarymagazine.com. He can be reached via e-mail at email@example.com.
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