Would the Metropolitan Opera offer a work called ‘The Death of Martin Luther King Jr.’ with racist views in support of the assassination?
The Metropolitan Opera in New York will open its new season Monday by presenting John Adams ’s opera “The Death of Klinghoffer. ” The organization’s decision to mount the production has already spurred protests, with more to come.
A too-brief summary: In 1985 Leon Klinghoffer, a 69-year-old disabled man, and his wife, Marilyn, were passengers on an Italian cruise ship, the Achille Lauro. The ship was hijacked by Palestinian terrorists, who shot Klinghoffer in the head and threw him overboard in his wheelchair.
John Adams is a serious artist, recognized as a leading creator of modern operas. “The Death of Klinghoffer,” first produced in 1991, contains a running debate between the killers—who voice a number of undisguisedly anti-Sematic slurs in the course of justifying their conduct—and their victim. Protesters are demanding that the opera be canceled; defenders couch their position, as has the New York Times , in terms of artistic freedom or—as one letter-writer to the Times put it—of helping us “understand the anger, frustration and grievances of other people.”
So, in Joan Rivers ’s much repeated phrase, can we talk? Some things are easy. Mr. Adams’s opera is protected by the First Amendment and so is the Metropolitan Opera in its decision to offer it. It would be a gross and obvious constitutional violation if government sought to bar the opera from being publicly produced or imposed any punishment for doing so.
Beyond that, canceling any public artistic performance because it expresses unpopular or even outrageous views is dangerous. I represented the Brooklyn Museum when then-New York City Mayor Rudolph Giuliani in 1999 sought to shut it down because he viewed some of its art—I use his language now—as “sick,” “disgusting” and sacrilegious. I argued then, successfully, that the mayor’s conduct violated the First Amendment.
But the controversy over the Adams opera cannot be dealt with by simple reference to the First Amendment or artistic freedom. Those who direct the Metropolitan Opera made a choice when they decided to offer Mr. Adams’s opera, and it is altogether fitting that they be publicly judged by that choice.