It’s a sign of how far America has been corrupted by political correctness, subjectivism in ethics, and relativism in the arts that a shoddy opera that romanticizes murdering terrorists can be put on by a major cultural institution, the Metropolitan Opera of New York City.
I am not an aficionado of heavy weight opera. I won’t go into my esthetic tastes here, because those are irrelevant. What is relevant is the obscenity of John Adams’s The Death of Klinghoffer, which debuted at the Metropolitan Opera last night (October 20th), whose libretto is a long-winded, atonal propaganda piece for the Islamic jihadists who hijacked a cruise ship and murdered Leon Klinghoffer, a passenger because he was a Jew. Listen to the sing-song screeching here and also a trailer.
But even the discordant singing and jumbled orchestral score are irrelevant. Even had Adams’s opus been written in the disciplined and original style of Georges Bizet or Giacomo Puccini or Giuseppe Verdi, Klinghoffer remains a sucker punch to all standards of moral decency and civilized taste.
More importantly, staging The Death of Klinghoffer is in conformance to the prescriptive steps for “cultural jihad” promoted by the Muslim Brotherhood in its 1991 memorandum for “transforming” America from a free republic into a bastion of totalitarian Islam. The Brotherhood’s “master plan” calls for “eliminating and destroying the Western civilization from within and ‘sabotaging’ its miserable house by their hands and the hands of the believers…” Peter Gelb, the Met’s general manager, composer John Adams, and director Tom Morris I guess don’t mind lending their hands to the PLO, ISIS, Al-Qaeda, the Taliban, and other Islamic gangs.
The Death of Klinghoffer is fundamentally a U.S. State Department and New York taxpayer-funded exercise in malodorous agitprop for anti-Semitism and Islam. John Adams and the Met may as well have staged an adaptation of Leni Riefenstahl’s Triumph of the Will as a musical with dialogue. Better yet, he could have turned “Springtime for Hitler” from The Producers into a serious, Wagnerian style opera, with no dancing and no plumbing for laughs. Why not?