The Year the Met Met Klinghoffer by the Forward

The Year the Met Met Klinghoffer

Photo copyright Ken Howard/Met Opera

In the end, Marilyn Klinghoffer’s voice resonated most clearly in the controversial production of Alice Goodman and John Adams’s ‘The Death of Klinghoffer’ at the Met.

There were, of course, the protests accusing the opera’s creators of, at worst, anti-Semitism, and at best, naiveté. And there were the counter-protesters who asserted that the opera’s critics had misconstrued its intentions. But those who saw the opera understood that the voice of Leon Klinghoffer’s grieving widow served as the opera’s conscienece.

For better and for worse, this was the first time in ages an opera made the front page of The New York Times.

We’d say the same thing about the Forward, but Mieczyslaw Weinberg’s opera “The Passenger,” made our front page in January.

The Year the Met Met Klinghoffer

Author

Your Comments

The Forward welcomes reader comments in order to promote thoughtful discussion on issues of importance to the Jewish community. All readers can browse the comments, and all Forward subscribers can add to the conversation. In the interest of maintaining a civil forum, The Forward requires that all commenters be appropriately respectful toward our writers, other commenters and the subjects of the articles. Vigorous debate and reasoned critique are welcome; name-calling and personal invective are not and will be deleted. Egregious commenters or repeat offenders will be banned from commenting. While we generally do not seek to edit or actively moderate comments, our spam filter prevents most links and certain key words from being posted and the Forward reserves the right to remove comments for any reason.

Recommend this article

The Year the Met Met Klinghoffer

Thank you!

This article has been sent!

Close