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When Defamatory Politics Masquerade as Art
The Death of Klinghoffer, an opera that aims to create sympathy for the terrorist hijackers of the Achille Lauro, returns to the New York Metropolitan Opera tonight. Edward Rothstein, reviewing the piece when it first opened in 1991, had some nice words for the conductor and the singers. But he also found the music “either atmospheric or emotionally elementary” and the message, delivered through a contrastingly “empathetic evocation of the [Palestinian] intifada” and mockery of the terrorists’ Jewish victims, politically rigged and morally repugnant. In Rothstein’s summary:
The work itself turned out to be more about its intended reception than about its subject, more a matter of pitch than substance. Without historical insight, without profound revelation of character, without the advertised symmetry [between Jews and Palestinians], without even a coherent libretto and convincing score, The Death of Klinghoffer becomes simply another monument to an avant-garde that is repeating old political and aesthetic gestures while acting as if it is daringly breaking new ground.
September 7, 1991
Review/Opera; Seeking Symmetry Between Palestinians and Jews
By EDWARD ROTHSTEIN
All through Thursday night’s New York premiere of the much-awaited “Death of Klinghoffer,” one knew exactly what the creators wanted a listener to think:
Setting the story of the 1985 Palestinian hijacking of a luxury cruise ship and the killing of a wheelchair-bound American Jew not on an ocean liner but in an Erector Set of scaffolding and ramps would treat yesterday’s newspaper reports as mythic, ritualistic repetitions of timeless struggles.
Telling the story in highly stylized language (by Alice Goodman) and music (by John Adams), using formalized gestures developed by Peter Sellars, having Mark Morris choreograph his dancers with hyperbolic poses and frenetic movements would raise audiences’ reactions above knee-jerk notions.