By Tabitha Korol
“You Jews are always complaining of your own suffering, but you get fat off the poor, cheat the simple, exploit the virgin, pollute where you’ve exploited – America is one Big Jew! We are soldiers fighting a war. We are not criminals and we are not vandals but men of ideals.”
Such are the words spoken by a Muslim-Palestinian terrorist in The Death of Klinghoffer, an American opera based on the 1985 hijacking of the passenger liner, Achille Lauro, by the Palestine Liberation Front, and their murder of a wheelchair-bound, stroke victim – the Jewish-American passenger Leon Klinghoffer, on holiday with his wife and daughters. However, the words came from the mind of librettist Alice Goodman, an anti-Semitic, Jewish apostate-turned-Anglican priest, who found an “artistic” channel for her own animus, hatreds and biases.
Commissioned by five American and European opera companies and the Brooklyn Academy of Music, the composers have turned a heartbreaking event into musical entertainment. The story is of a malevolent crime of Islamic jihad (a crusade to kill for conquest), presented with consideration for the villains and indifference to the innocent victim. There is something deeply perverse – nay, depraved – in producing this for showbiz, as I see our once-great civilization sinking into the depths of a fascistic Islamic evil.
It is said that there can only be peace when the Muslims stop revering death the way Jews revere life. Islam’s militaristic, expansionist, religious, oppressive ideology revolves around subjugation, mutilation, and death – all that is antithetical to our Western civilization. As a nation we debate about length of prison terms, the death penalty, humaneness for animals, yet there are some will create, perform, and view a callous, political murder as “theater,” as well as provide a venue for slowly Islamizing the American psyche.