This weekend, the Met Opera gave it’s last performance of what became the hot button cultural event of the season here in New York, John Adam‘s 1991 Death of Klinghoffer.
Death of Klinghoffer premiere at La Monnaie, 1991, photo by Baus Hermann J.
The opera is about the the 1985 hijacking of the Achille Lauro cruise ship by four members of the Palestinian Liberation Front, during which a 69 year old Jewish American passenger was murdered. As you might imagine, controversy has dogged the work since it’s premiere at La Monnaie, in Belgium, just six years after the original events. That being said, the reception in New York seemed especially strong compared to other recent productions in the US.
Having seen the piece myself last week, I thought I’d offer a few thoughts on its merits.
Musically, the opera is known for its choral pieces, which are mostly quite lovely/striking, ranging from peacefully meditative to distressingly aggressive. Besides the choral music though, I found the music pretty flat at the beginning. The second part had more diverse music though, from agressive expressions of anger to one weirdly 90s commercial jingle interlude… All in all though, that diversity I thought included stronger music and made for a more interesting musical experience.
Textually, the libretto by Alice Goodman alternates between poetic and more concrete language, which I found problematic… Given the reality of not just this particular hijacking and murder, but of the broader Israeli-Palestinian conflict, any time someone’s given obtuse poetry to recite feels like a missed opportunity. Furthermore, it seemed that the Jewish characters were more frequently given poetic lines than the Palestinians, so the Palestinians had more concrete things to say, while the Jews were just harder to understand…
All that said, I don’t think the opera is antisemitic or glorifies terrorism, two critiques often thrown at it. It obviously depicts hatred, and I think that’s done heart-wrenchingly well. While Palestinians are given a voice in the choruses, and allowed to express their grievances as displaced people, the terrorists aren’t really sympathetic. But that comes to another critique, about humanizing the terrorists… And of course, they are indeed human, not pure avatars of evil, so I think that aspect was pulled off alright… Despite some glimpses of underlying shared humanity, their actions are never sugarcoated.
All in all, a gutsy albeit ultimately imperfect attempt to analyze an unapproachably taboo subject through opera…
Now for some totally inappropriate emotional whiplash!
In an infinitely more light-hearted case of operatic culture clash, Juilliard is presenting Rossini‘s 1814 comic opera Turco in Italia starting this Thursday (tickets $30). Below, the full opera from Zurich Opera in 2001: