The most important thing to know about the Metropolitan Opera’s staging of the provocation piece “The Death of Klinghoffer,” is that the first of what should be many protests against it will be on Monday, Sept 22, starting at 4:30 p.m., at the Metropolitan Opera, which is nestled in the Lincoln Center Complex, at Broadway and West 65th Street in New York City.
The opera itself is still set to run at the Met for eight performances, starting on Monday, Oct. 20, running through mid-November. But in a concession that should serve as an admission, the Met pulled “Death” from its line-up of operas it simulcasts to theaters around the world.
Because as Peter Gelb, the Met’s general manager admitted in astatement issued in mid-June, the international Jewish community is genuinely concerned that “the live transmission of The Death of Klinghoffer would be inappropriate at this time of rising anti-Semitism, particularly in Europe.”
It beggars the imagination that Gelb and his board recognized and acted in deference to genuine concern about the effect the opera could have for Jews in Europe, but shuts his ears to the genuine concern and outrage over staging it in New York City, where there is one of the largest concentration of Jews in the world.