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
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…”
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.
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?
If you’re going to shill for Islam and its
core Jew-hatred and its unapologetic ugliness, why not go whole hog? I’m sure
the cost of producing a musical Triumph
of the Will
can be recouped in the usual ticket prices, which for Klinghoffer are going from $35
to $145 a seat
. I’m sure the Met’s general manager, Peter Gelb, could offer
special discounted prices to Louis Farrakhan of the Nation of Islam, and to the
whole staff of the Council on American-Islam Relations. Perhaps even offer
private showings for the staffs of every Islamic front group in the country.
Full houses guaranteed.
The Death
of Klinghoffer
being vigorously protested,
and the Met’s Peter Gelb has been hard-pressed to cancel its debut and
subsequent showings.
Yet, the opera has its defenders. New York’s
Communist mayor, Bill de Blasio, for example, according to a New
York Daily News
article of October 20th, said:
Mayor de Blasio
defended the Metropolitan Opera’s right to show “The Death of
Klinghoffer,” and criticized predecessor Rudy Giuliani’s protest against
the controversial work.
“I really
think we have to be very careful in a free society to respect that cultural
institutions will portray works of art, put on operas, plays, that there will
be art exhibits in museum,” de Blasio said Monday at an unrelated press
“And in a free
society we respect that. We don’t have to agree with what’s in the exhibit but
we agree with the right of the artist and the cultural institution to put that
forward to the public.”…
“I think there
is a serious problem today in the world that has nothing to do with this
opera,” the mayor said.
“There’s an
anti-Semitism problem in this world today, particularly in Western Europe, that
worries me greatly. That’s where my focus is. I don’t think an opera is what
the focal point should be right now.”
“The only
thing I know about the opera is that the Metropolitan Opera has a right to show
it,” he said.
That’s rich, coming from a politician who
hankers after the power to squelch freedom of speech, and who really isn’t for
a “free society” at all. And it’s evidence of his cluelessness, one shared with
countless others about government-subsidized “art,” that he can claim that the
Met has a “right” to force taxpayers to fund any kind of propaganda, which is
what Klinghoffer is.  
Excuse me, Bill, but the Met would have a “right”
to show Klinghoffer if it were
completely privately funded, and even then it would raise issues. But it isn’t
completely privately funded by donors; it’s funded in large part by government money,
that is, taxpayer money. Institutions that receive a single cent from the government
to push rubbish like Klinghoffer to
the forefront of “culture” do not have
“freedom of speech” rights. Taxpayers, who had no choice in the matter,
however, do have a right to protest such “art” and to gag its shills and
Further, Klinghoffer is implicitly about Islam. The terrorist protagonists
are Muslims.  Islam also believes in “freedom
of speech,” that is, the freedom to censor any critics of Islam – or behead
them, shoot them, hang them, rape them, stone them to death. Islam believes in
free speech, and will tolerate you as long as you don’t talk back.
Daniel Greenfield, in his FrontPage article
of June 3rd, “Should New York Taxpayers
Fund Pro-Terrorism and Anti-Semitism at the The Metropolitan Opera?”, revealed
some interesting facts about the Met:
The Metropolitan Opera has been having serious financial problems. Its
programs regularly mention support from public funds from the New York State
Council on the Arts. Its 2012 report mentions
$500,000 in support from
the New York City Department of
Cultural Affairs. The year before that it was $100.000.
The Arts
website shows six figure
funding going to the Metropolitan Opera every year
under General Opera Support. There are also other grants. That means that when
a terrorist screams about the Jews on stage, he’ll be doing it with funding
from New York taxpayers.
Maybe it’s time to put a stop to that.
If the Met wants to promote the murder of 9 percent of the population of
New York City, New Yorkers shouldn’t have to pay for it.
That means eliminating all city and state funding for the Metropolitan
Opera. The most obvious place to start is by killing the annual six-figure New
York State Council on the Arts giveaway.
It’s something that a New York State Senator or Assemblyman can do.
At the Federal level, the Met receives funding from a variety of
agencies, including $1 million from the State
and from the usual suspects such as the Department of Education.
Need I say more?
Staging the anti-Semitic The Death of Klinghoffer in the face rising
anti-Semitism around the world is not about “freedom of speech.” It is about the
power to defy all standards of rationality and morality because of political
correctness and an amoral indifference in the ugly, sorry souls of Peter Gelb,
the director, and the whole cast.

isn’t only Leon Klinghoffer who has been shot in the head and tossed overboard.
It is the American public and in particular, New Yorkers.