The Met have made the shameful announcement that they won’t, after all, be broadcasting their performance of John Adams’ opera The Death of Klinghoffer to cinemas across the world. Shameful, in a general sense, because of their failure to stand up for freedom of expression in the arts due to an interest group’s dubious claims that it might ‘ferment anti-Semitism’. (How long before performances of The Merchant of Venice are banned or James Joyce’s Ulysses is pulled off the shelves? Both are more problematic than Klinghoffer in their treatment of Jews, but it’s no solution to pretend that they never happened.) But the Met’s decision is specifically shameful because said interest group has a political agenda in ignoring the complexity and importance of this work.

The Anti-Defamation League claim to exist to ‘protect civil rights for all’ (in this case, then, perhaps ignoring the fact that freedom of expression is a civil right). Their concerns were that the opera could be used ‘as a means to stir up anti-Israel sentiments or as a vehicle to promote anti-Semitism’. That’s quite a leap of logic: the opera is a dramatisation of events in which anti-Semitism played a part, but as librettist Alice Goodman (who not insignificantly was born a Jew) points out, ‘there is nothing anti-Semitic in Klinghoffer apart from one aria, which is sung by an anti-Semitic character and is clearly flagged as such.’ It stretches my credulity to breaking point to imagine neo-Nazi groups adopting a modern aria as some kind of anthem, let alone sitting through an entire opera exploring the history of the Israeli-Palestinian conflict and its consequences.

But it is the complexity of the opera’s outlook that is really at the bottom of the ADL ‘concerns’. They quote the daughters of Leon Klinghoffer as saying that the opera attempts to ‘romanticise, rationalise, legitimise and explain’ the murder of their father. The accusation that the events are romanticised doesn’t really stand up to artistic scrutiny (unless you consider opera inherently romantic, in which case you need some Berg in your life), but as for rationalise, I wholeheartedly agree: the whole point is that terrorist acts are not irrational, at least not in the minds of those who commit them. Does it make terrorists more scary if we rationalise what is running through their heads, show what they have in common with us, that they are thinking human beings rather than purely ‘evil’? Yes it does, and rightly so. It is also vital if we are going to understand and tackle the issue of terrorism at its roots. That is a long way from legitimising their actions.

Klinghoffer’s daughters may object to the murder of their father being given an explanation, but writing it off as a meaningless murder is to do him an injustice and to invite the same kind of events to happen again and again. The ADL are unable to see such a nuanced perspective as anything more than ‘implicit justification of terrorism’ (one suspects they haven’t bothered to sit through the opera anyway), but the people at the Met (who surely have) ought to know better: the arts are a vital way of understanding the world we live in and Klinghoffer is one of the most significant recent works on this subject, the reason I suggested many years ago on this blog that every politician ought to be forced to watch it.

By preventing the broadcast of this opera, the Met are preventing engagement with the issues it raises; they are restricting education and discussion. They are bowing to a one-sided political stance and perpetuating an unhelpfully divisive view of a conflict which will only ever be resolved with mutual sympathy and understanding.

And yes, they are also limiting the audience for a Bloody Good Opera.

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