Metropolitan Opera scheduled to have 8 performances' of ' Death of Klinghoffer'

[eb22]

In addition to what I mentioned in the title of the thread,  there's scheduled to be HD Transmissions of this Nazi Propaganda around the world.


http://www.jns.org/latest-articles/2014/5/29/anti-israel-production-to-be-viewed-live-by-hundreds-of-thousands#.U40UfCg9A8c=

Anti-Israel opera to be viewed live by hundreds of thousands


Posted on May 29, 2014 by JNS.org and filed under Arts, Opinion, Israel, U.S..



By Myron Kaplan/JNS.org

An open letter to the New York Metropolitan Opera general manager concerning “The Death of Klinghoffer,” an anti-Jewish and anti-Israel opera: reasons to reject it and viable replacements for it in HD transmission.

Peter Gelb
General Manager
The Metropolitan Opera
Lincoln Center
New York, NY 10023

Dear Mr. Gelb,

As a longtime fan of grand opera, I have attended numerous superb live Met performances both at Lincoln Center and via live Saturday matinee performance HD transmissions to theaters (not to mention listening to numerous Met Saturday matinee live radio broadcasts)—and have greatly admired your accomplishments at the Met. So it was with great dismay and disappointment that I learned that the Met had scheduled for the 2014-2015 season its first-ever performances of John Adams’s “The Death of Klinghoffer.” Mediocre music is the least of the work’s problems. Even more serious is a tendentious story line and an inflammatory libretto that falsely maligns Israel and the Jewish people.

This story line can be characterized fairly as “Understandably aggrieved Palestinian Arabs wreak vengeance on disabled Jew standing in for all his perfidious co-religionists.” This is an obscene inversion of the reality that was the Achille Lauro cruise ship hijacking and subsequent terrorist murder of passenger Leon Klinghoffer. In this regard, it must be noted that the librettist, Alice Goodman, during the writing of the opera rejected her American Jewish heritage by joining the Anglican Church, the leadership of which is known for its hostility toward Israel. Goodman is now a parish priest in England.

The most troubling aspect of the Met’s scheduling of “The Death of Klinghoffer” is the live HD transmission of this opera, set for November 15, 2014—one of 10 such transmitted opera performances planned for the coming season—to more than 2,000 theaters in 66 countries (including more than 700 U.S. theaters). This would make the live performance immediately available to hundreds of thousands of people (and potentially millions according to the Met), giving wide international distribution to what is, at its heart, an anti-Jewish slander.

I’m aware that it may not be feasible at this juncture to cancel all or any of the eight performances of this opera scheduled during the period of October-November 2014, but in order to minimize the harm, the Met should substitute another opera for the HD transmission.

As alluded to above, the opera is based on the 1985 murder of a helpless 69-year-old American Jewish man, Leon Klinghoffer, confined to a wheelchair—shot in the head while vacationing with his wife on a cruise ship in the Mediterranean Sea. He was murdered by Palestinian Arab hijackers belonging to the Palestine Liberation Front, a component of Yasser Arafat’s Palestine Liberation Organization, and his body dumped into the water. The choice of the title, “The Death of Klinghoffer” and not “The Murder of Klinghoffer,” signals the work’s moral evasion and misrepresentation. In a sense, it is consistent with the PLO’s initial comments on the murder, that either Klinghoffer had died of natural causes or his wife pushed him overboard to be able to claim life insurance. The title’s sanitizing of murder is, however, also consistent with the opera’s anti-Jewish tone. Instead of properly characterizing the Palestinian hijackers of the cruise ship as permanent prisoners of their own rage originating from cultural indoctrination, Adams/Goodman impart idealism to them.

The opera opens with these words sung by the Chorus of Exiled Palestinians: “My father’s house was razed—In nineteen forty-eight—When the Israelis passed—Over our street.” Here, Israelis are likened to the avenging Angel of Death in the biblical story of the original Passover, exacting punishment on the ancient Egyptians after Pharaoh, breaking a promise, refused to let the Jewish people leave Egypt. This amounts to an artistically licensed slander, falsely suggesting that the Israelis, besieged by the armies of five Arab countries and Palestinian Arab “irregulars” bent on driving them into the sea, exacted widespread revenge upon Arabs residing in the ancient Jewish homeland.

Hijacker Rambo invokes anti-Semitic canards: “Wherever poor men—Are gathered they can—Find Jews getting fat—You know how to cheat—The simple, exploit—The virgin, pollute—Where you have exploited—Defame those you cheated—And break your own law—With idolatry.” Rambo’s lyrics, with virtually no artistic embellishment, could have been lifted from Nazi publications like Der Sturmer, as even a casual glance at the archives would confirm.

Repeatedly, the Palestinians are portrayed as humane idealists. Hijacker Molqi sings: “We are—Soldiers fighting a war—We are not criminals—And we are not vandals—But men of ideals.”

Hijacker Mamoud appears gentle and grieving as he tells of his mother and brother: “She was killed—With the old men—And children in—Camps at Sabra—And Shatilla— Where Almighty God—In His mercy showed—My decapitated—Brother to me—And in His mercy—Allowed me to close—My brother’s eyes—And wipe his face.”

This tear jerker falsely implies that Israelis, rather than members of the Lebanese Christian Phalange militia, massacred hundreds of Palestinian Arabs on Sept. 16-18, 1982 in the Sabra and Shatilla refugee districts. It gives no hint that the Phalangists acted in retribution for massacres of Christian Lebanese by the PLO and the September 14 assassination of the country’s Christian president-elect, Bashir Gemayel.

Mamoud shows himself to be consumed with seemingly permanent hate and a vision of martyrdom: “The day that I—And my enemy—Sit peacefully—Each putting his case—And working towards peace—That day our hope dies—And I shall die too.” But even this negative portrayal is mitigated by Mamoud’s meditation on the birds in the air— which may encourage the viewer to sympathize with him.

Leon Klinghoffer’s aria expressing his humanity and railing against the terrorists is insufficient to mitigate the harmful impression left by Goodman’s biased libretto and may even be seen as unnecessarily agitating the terrorists: “I came here with—My wife. We both—Have tried to live—Good lives. We give—Gladly, receive—Gratefully, love— And take pleasure—In small things, suffer—And comfort each other—We’re human. We are—The kind of people—You like to kill—Was it your pal—Who shot that little girl—At the airport in Rome?—You would have done the same—There’s so much anger in you—And hate.”

Goodman’s biased libretto condemns Jews and Israelis as a group, while the Arab hijackers, when condemned, are characterized as violent or revengeful individuals without regard to their ethnic/religious group. If Adams/Goodman intended some semblance of balance in this respect then they would have included, as well as anti-Jewish canards, anti-Arab/Muslim charges such as “Muslims want to destroy all infidels—their Koran tells them to do this.” But there is no semblance of this in this opera.

Then there is the matter of the renewed cruelty this Met production, not so much fiction but rather propagandistically manipulated facts, is likely to inflict upon the Klinghoffer family. After the 1991 premieres of the opera, The Telegraph (London) reported that Mr. Klinghoffer’s two daughters, Lisa and Ilsa, attended a New York production of the opera in 1991, which they described as “appalling” and “anti-Semitic.” A New York Times article reported on the antipathy toward Adams/Goodman by Lisa and Ilsa Klinghoffer: “We are outraged at the exploitation of our parents and the cold blooded murder of our father as the centerpiece of a production that appears to us to be anti-Semitic.”

If it’s necessary to provide at least one first-time HD transmission of a modern opera composed after 1930, there are two excellent candidates already in the Met’s 2014-2015 schedule: Shastikovich’s ‘Lady MacBeth of Mtsensk” and Stravinsky’s “The Rake’s Progress,” both of which, according to critics, have excellent productions, conductors and singers. The Shastikovich substitution would involve merely a replacement of November 15 on the HD schedule with November 29 currently scheduled as a Saturday matinee performance of this opera. The Stravinsky substitution would involve replacement of November 15 on the HD schedule with May 9, 2015 already scheduled as a Saturday matinee performance of this opera.

Otherwise, classic operas already scheduled at the Met in 2014-2015, but not scheduled for HD broadcast, include “Aida”—currently scheduled for a Met evening performance on the same day, November 15, as the HD transmission. Why not substitute it on that day with the Adams opera? This magnificent Verdi opera is one of the favorites of opera fans worldwide. Certainly it would be a much greater drawing card than the Adams opera in all or nearly all of the countries. Other possibilities include “La Traviata,” “Magic Flute,” and “Barber of Seville.” For “La Traviata,” replace November 15 on the HD schedule with December 27, currently scheduled as a matinee performance of this opera. For “Magic Flute,” replace November 15 on the HD schedule with November 8, currently scheduled as a matinee performance of this opera. For “Barber of Seville,” replace November 15 on the HD schedule with November 22, currently scheduled as a matinee performance of this opera.

Mr. Gelb, I trust that you will reverse an unfortunate decision just as you did in 2012 when, displeased with Opera News reviews of Met productions, you barred the magazine from subsequent reviews. Following an uproar from opera fans, you reversed the brief ban, forthrightly admitting to having made a mistake. Live transmission of “The Death of Klinghoffer,” a slanderous anti-Jewish and anti-Israeli concoction, is much more grave than the contretemps over Opera News. Mr. Gelb, we urge you, for the sake of the Met’s reputation and the constant struggle against anti-Semitism and anti-Zionism, to at least provide an HD transmission substitution.




Sincerely,

Myron Kaplan
Senior Research Analyst
CAMERA (Boston-based 65,000-member Committee for Accuracy in Middle East Reporting in America)

[eb22]

The following is a very disturbing video,  which has 10 minutes of this hideous Nazi trash:

The Death of Klinghoffer: Chorus of Exiled Palestinians

https://www.youtube.com/watch?v=-jw33u9qAsE

[eb22]

The following is ZOA's response.  I'm going to try to participate in the protest demonstration when the time comes.


http://zoa.org/2014/06/10246796-zoa-urges-cancellation-of-metropolitan-operas-planned-anti-semitic-anti-israel-performances-and-worldwide-broadcast-of-death-of-klinghoffer/


June 13, 2014   


ZOA Urges Cancellation of Metropolitan Opera’s Planned Anti-Semitic Anti-Israel Performances and Worldwide Broadcast of “Death of Klinghoffer”



The Zionist of Organization of America urges the Metropolitan Opera of New York (the “Met”) to cancel its planned eight fall 2014 performances and worldwide broadcast of the anti-Semitic, anti-Israel opera “Death of Klinghoffer.” 

ZOA President Morton Klein stated:

“This anti-Semitic opera viciously falsifies history to malign and incite hatred against Israel and the Jewish people.  The opera is a disgrace and should be canceled immediately.” 

“Death of Klinghoffer” attempts to justify and “humanize” Palestinian terrorists’ cold-blooded murder of a helpless innocent, elderly disabled wheelchair-bound American Jewish man during Palestinian terrorists’ 1985 hijacking of the Achille Lauro cruise ship.  The Palestinian terrorists shot Leon Klinghoffer in his wheelchair, and then dumped Mr. Klinghoffer’s body (along with his wheelchair) into the sea.

“Death of Klinghoffer” opens by purveying a key “big lie” that has incited anti-Semitism and attacks on Israel for the past six decades since Israel’s rebirth.  The opera’s opening caption is “May 15, 1948, the day after Israel’s creation.”  An Arab chorus sings the opera’s first line: “my father’s house was razed in 1948,” and then speaks of how guests were always welcome to refresh themselves in the Arab home and its “pure well,” but none of the home’s walls are standing anymore because “Israel laid all to waste.”  Meanwhile, a little Arab girl supposedly watches Israeli soldiers brutally driving Arabs from their homes.  Arab women and children are shown fleeing for their lives, while Israeli soldiers are shown shooting, hitting innocent Arabs with rifle butts, chasing the fleeing Arabs, and slapping an old Arab woman who is sitting passively in the dirt, flattening pita dough.   

The entire opening libretto and scene is of course a work of pure defamatory fiction, designed to malign Israel and the Jewish people.  Jews did not drive Arabs from Israel or raze Arab homes in 1948.  Instead, Jewish leaders begged the Arabs to remain in their homes and to live together in peace.  British police reports from the British headquarters in Haifa Israel at the time confirmed:

“Every effort is being made by the Jews to persuade the Arab populace to stay and carry on with their normal lives, to get their shops and their businesses open and to be assured that their lives and interests will be safe.”

In fact, the “Arab refugee problem” was created by the Arab High Committee (AHC) and the leaders of seven neighboring Arab states (Egypt, Jordan, Lebanon, Syria, Iraq, Saudi Arabia and Yemen).  The Arab leaders urged Arab civilians to temporarily leave Israeli areas so that the invading Arab nations’ war to annihilate Israel’s Jews could proceed unencumbered by a local Arab civilian population.   For instance, Iraq’s Prime Minister Nuri Said declared:

“We will smash the country [Israel] with our guns and obliterate every place the Jews seek shelter in.  The Arabs should conduct their wives and children to safe areas until the fighting has died down.”

It was well known at the time that Arab leaders were responsible for Arab departures from Israel.  The Economist reported on Oct. 2, 1948:

“There is but little doubt that the most potent of the factors [resulting in most Arabs leaving Haifa] were the announcements made over the air by the Higher Arab Executive, urging the Arabs to quit. . . . It was clearly intimated that those Arabs who remained in Haifa and accepted Jewish protection would be regarded as renegades.”

(For numerous other reports demonstrating the Arab leaders’ responsibility for creating Arab refugees and related contemporaneous events, see Shmuel Katz’s well-documented book, Battleground, at pp. 12-37.)

If seven Arab nations had not invaded the fledging state of Israel in 1948 in an attempt to murder all its Jewish citizens and destroy the state of Israel, there would never have been a single Arab refugee.  The Arabs alone created the problem

In addition, at Arab leaders’ request, Britain helped with the voluntary Arab evacuation, providing trucks for a relatively orderly process.  The Arab departures bore no resemblance to the falsified scenes and lyrics in “Death of Klinghoffer” depicting Arabs fleeing for their lives from allegedly brutal Israelis.

Immediately after the opening scene, “Death of Klinghoffer” quickly spews forth more of the big lies often used to malign Israel, including extreme “Arab refugee number inflation.”  The next scene is captioned “1985:  3.7 Million Palestinians in Exile,” and again depicts fabricated brutal treatment of Palestinians by Israelis.  In fact, a detailed analysis of before-and-after Arab demographic data, by Dr. Walter Pinner, revealed that the number of legitimate Arab refugees was 367,000 as of 1966 – less than one-tenth of “Death of Klinghoffer’s” ultra-magnified propaganda numbers.  Moreover, even inflated British Arab population data was very close to Dr. Pinner’s numbers.  Moreover, by contrast to the fewer than 400,000 self-exiled Arab refugees, approximately one million Jews were forced to flee their homes in Arab lands by Arab anti-Semitic pogroms and decrees during the same time period.   

Another seriously disturbing aspect of “Death of Klinghoffer” is the opera’s persistent attempts to humanize the terrorists, and equate and confuse the Palestinian murderers with their Jewish victims.  In performances of “Death of Klinghoffer,” the same actors/singers play both Palestinians and Jews, in a deliberate attempt to equate both sides.  An article on a performance of the opera in Brussels noted that the dual Palestinian/Jewish roles is only part of the intentional effort to confuse murderers with victims: “There is a blurring of physical identities.  The entire cast – principals, chorus and dancers – is dressed alike, in anonymous shirts, baggy trousers or skirts.”  In the DVD version, the hijacker who shoots Leon Klinghoffer in the head is sympathetically played by a handsome-looking man.  (In real life, the PLF (Palestine Liberation Front) terrorists who hijacked the Achille Lauro, such as Abu Abbas, were not attractive.)

Italian author and Auschwitz survivor Primo Levi wrote in his last book, The Drowned and the Saved (1986):

“[T]o confuse [murderers] with their victims is a moral disease or an aesthetic affectation or a sinister sign of complicity; above all, it is a precious service rendered (intentionally or not) to the negators of truth.”

The Hebrew words for art and artist, “ooman” and “oomanoot” relate to the concept of truth.  The words have the same root as “Amen” – which means “let this prayer be true.”  Art should be truthful.  It should not be used to spread anti-Semitic falsehoods which incite more Jew hatred in an era in which innocent Jews are frequently being violently attacked.

ZOA President Morton Klein also noted:

“If an opera attempted to justify the lynching or murder of an innocent black, gay or Hispanic man with false stories about blacks, gay people or Hispanics, the Met would never dream of staging such a racist or bigoted opera.  Maligned Jews deserve the same consideration that the Met would give to any other group.  Death of Klinghoffer is pure anti-Semitism.”

“Death of Klinghoffer” is particularly dangerous at this juncture.  We are living in perilous times.  Jews and Christians are being targeted and attacked throughout the world.  The growth in anti-Semitism has been particularly explosive.

In New York City, physical attacks on Jews tripled last year (2013).  “Knockout game” attacks specifically targeted Jewish children and elderly Jews in Brooklyn.  And this past April, on Passover eve, in the Overland Park Kansas City suburb, a gunman murdered innocent civilians at a Jewish center and Jewish retirement home.  Although the gunman’s intent was to murder Jews, the Overland Park victims were all Christian.  Those who are full of hatred towards Jews often end up murdering all humanity.

Anti-Semitic “incidents” occur in France and elsewhere in Europe virtually every day. Two weeks ago, on Saturday May 24, 2014, a jihadist murdered four innocent civilians at the Jewish Museum in Brussels, including two Israeli tourists.  The same evening, Muslims used brass knuckles to severely beat two young Jews who were leaving a suburban Paris synagogue.  Earlier this May, an Arab mother-and-daughter team attacked a Jewish girl at a Lyon laundromat when they noticed that the girl was wearing a Jewish star: the Arab adult held down the Jewish girl, while the Arab daughter yelled “Dirty Jew, go home” and severely beat the Jewish girl, causing injuries to the Jewish girl’s eyesight and hearing.  Just this week (June 10), an anti-Semitic gang attacked and tasered a Jewish teenager in Paris, and three men attacked two Jewish teenagers with teargas in Sarcelles.  In 2012, a jihadist murdered a Jewish rabbi and 3 children near a Jewish school in Toulouse.  And in Paris in 2006, a gang of 16 anti-Semites kidnapped, and then beat and tortured for 24 days and ultimately murdered a young innocent Jewish telephone salesman. 

In this increasingly perilous environment, one would hope that America’s great cultural institutions would at the very least “do no harm.”  Unfortunately, however, the Metropolitan Opera’s eight planned prime time performances and worldwide broadcast of the anti-Semitic propaganda opera “Death of Klinghoffer” – which maligns Israel and justifies the murder of innocent Jews – is certain to add fuel to the raging fires of Jew hatred. 

Other postings regarding “Death of Klinghoffer,” such as Myron Kaplan’s open letterto the Metropolitan Opera’s General Manager Peter Gelb, have pointed out additional extremely troubling issues with the opera, including the opera’s lyrics labeling Jews as fat, cheating, exploiters, defilers of virgins, defamers, etc., while the Palestinian murders are described as humane “men of ideals.” 

ZOA and other groups will be protesting the Met’s performances and broadcast of the “Death of Klinghoffer.”   Please contact [email protected] if you wish to participate.  Meanwhile, we urge you to call and/or write to:

 

Peter Gelb
General Manager
The Metropolitan Opera
Lincoln Center
New York, NY 10023 
[email protected]

And Mr. Fabio Luisi, Principal Conductor at the Met, email: [email protected]

And the Metropolitan Opera’s music director James Levine, as well as the Opera’s Board members, listed on the Met’s website at http://www.metoperafamily.org/metopera/about/whoweare/detail.aspx?customid=1 and below:

Board of Directors:

Ann Ziff (Chairman), Kevin W. Kennedy (President and Chief Executive Officer), Mercedes T. Bass (Vice Chairman), Judith-Ann Corrente  (Secretary), Betsy Cohen (Treasurer), William C. Morris (Chairman of the Executive Committee), Frayda B. Lindemann (Vice President), Christine F. Hunter (Honorary Chairman), James W. Kinnear  (Honorary Chairman), Paul M. Montrone  (President Emeritus), Mrs. Ezra K. Zilkha (Vice Chairman Emerita)

Managing Directors:

Mercedes T. Bass, Frank A. Bennack, Jr., Susan S. Braddock, Betsy Cohen, Leonard S. Coleman, Jr., Judith-Ann Corrente, Rena De Sisto, Jerry del Missier, Mrs. Paul Desmarais Sr., Misook Doolittle, Marina Kellen French, Joan Granlund, Eugene P. Grisanti, Rolf Heitmeyer, Marlene Hess, Christine F. Hunter, Frederick Iseman, John J. Noffo Kahn, Kevin W. Kennedy, James W. Kinnear, Bruce Kovner, Camille D. LaBarre, Mrs. Walter J. Laughery, Jr., Harry T. Lee, Jeanette Lerman-Neubauer, Frayda B. Lindemann, Dafna Meitar-Nechmad, Mrs. Corbin R. Miller, William R. Miller, Vivian Milstein, William C. Morris, Elena A. Prokupets, Laura J. Sloate, Howard Solomon, Hon. David A. Straz, Jr., Ambassador Nicholas F. Taubman, Mrs. Wilmer J. Thomas, Jr., Robert I. Toll, Robert L. Turner, Ann Ziff

Honorary Directors:

Bruce Crawford, Edgar Foster Daniels, Emily Fisher Landau, Mrs. Alexander M. Laughlin, Laurence D. Lovett, James S. Marcus, John K. McKinley, Paul M. Montrone, Dr. M Lee Pearce, Mrs. Ezra K. Zilkha

 Advisory Directors:

Josef Ackermann, Marcos Arbaitman, Adrienne Arsht, M. Beverly Bartner, Ellen S. Berelson, Stanley M. Bergman, Glen W. Bowersock, Jacques E. Brand, Ms. Angela Chao, Nabil N. Chartouni, Christoper H. Cheever, Daniel C. Cochran, Alberto Cribiore, Gary B. Flom, Gordon P. Getty, Nancy A. Green, Ephraim Greenwall, Beth A. Grosshans, Ray J. Groves, H. Alexandra Kauka Hamill, William A. Haseltine, Thomas J. Hubbard, Linda E. Johnson, Helen Y. Little, Tod Johnson, Klaus Kleinfeld, Dr. Herbert G. Kloiber, Dr. David G. Knott, Meyer G. Koplow, Theodore A. Kurz, Dominique Laffont, Mitchell L. Lathrop, Dr. Coco Lazaroff, Andrew J. Martin-Weber, Dr. Richard J. Massey, Anne Welsh McNulty, Harvey R. Miller, Richard J. Miller, Jr. , Linda Mirels, Ellen F. Oelsner, Katharina Otto-Bernstein, Joseph R. Perella, Miss Leontyne Price, Hartley R. Rogers, Winthrop Rutherfurd, Jr., Sana H. Sabbagh, Mrs. Arnold Schwartz, Jacqui Smith, Daisy M. Soros, Richard S. Tedlow, John J. Veronis, Arete S. Warren

Members:

Mahmoud M. Abdallah, R. Joseph Barnett, Jane Beasley, Mrs. Thomas S. Brush, Eleanor N. Caulkins, Robert J. Cubitto, Mrs. Bryant Reeve Dunn, Robert G. Edge, Beatrice Esteve, Sanford H. Fisher, Eugene M. Grant, G. Morris Gurley, Mrs. Randolph H. Guthrie, O. Delton Harrison, Jr., Erik Hartmann, Henry H. Hoyt, Jr., Mattiwilda Dobbs Janzon, Mrs. Martin S. Kimmel, W. Loeber Landau, Mrs. Joan C. Long, Sandra Ourusoff Massey, John L. McGraw, Mrs. Peter H. Nicholas, Dr. Steve Prystowsky, Sharon Robinson, Joan C. Schwartz, Cynthia D. Sculco, Mrs. William F. Sondericker, Jackson Tai, Barry Tucker, Mrs. Robert Wagenfeld, Mrs. Ralph M. Wyman (and all of the Directors)

Young Associate Directors:

Agnieszka R. Balaban, Alexa Bator Chae, Diego De Giorgi, Stephanie Potter Foster, Heather H. Georges, Matthew G. Hurd, Vikas Kapoor, Yung Hee Kim, Joshua Kindler, Melissa Ko, So-Chung Shinn Lee, Helen Lee-Warren, Pedro Magalhães, Julie Warner McAskin, Evelyn M. M. Popp, Itai Shoffman, Langdon Van Norden, Jr., Shivani Vora, Dale Westreich, Rebecca Wui, Satoko Yahata, Simon Yates


Read more: http://zoa.org/2014/06/10246796-zoa-urges-cancellation-of-metropolitan-operas-planned-anti-semitic-anti-israel-performances-and-worldwide-broadcast-of-death-of-klinghoffer/#ixzz34YzRMAm0

[cjd]

Leon Klinghoffer was actually the owner of a company that was a household name back in the 60's and 70's... The company was called " Broil King"  It was the maker of some of the best toaster ovens and broilers made... It makes me sick to this very day that this American business man was tossed over the side of the ship because he had the b-lls to speak up against the filthy Arabs that took the ship hostage... Sadly he and the  Achille Lauro incident has almost been forgotten by most people... This and recent events in the news may also work to make main stream Americans aware of the evil that is waiting in the wings for them.

[eb22]

Leon Klinghoffer was actually the owner of a company that was a household name back in the 60's and 70's... The company was called " Broil King"  It was the maker of some of the best toaster ovens and broilers made... It makes me sick to this very day that this American business man was tossed over the side of the ship because he had the b-lls to speak up against the filthy Arabs that took the ship hostage... Sadly he and the  Achille Lauro incident has almost been forgotten by most people... This and recent events in the news may also work to make main stream Americans aware of the evil that is waiting in the wings for them.

cjd,  thanks for the info on Leon Klinghoffer's background and your overall thoughts.  Though I was 23 when the Muslim terrorist attack that resulted in the murder of Leon Klinghoffer occurred,  I didn't recall much about his background.  One thing that I do recall is that he was very frail at the time of the cruise in which he was murdered on.  And that his wife was dying of cancer.   Yet,  in the video that I posted the link earlier in this thread,  the Klinghoffer's look MUCH healthier than was the case in the real world.  As in decades younger.    I strongly believe this was done intentionally by those responsible for ' The Death of Klinghoffer'.   They want to create as little as possible sympathy for the Klinghoffer's,  Israel,  and the Jews,  and as much sympathy as possible for the Fakeastinians. 

[eb22]

http://www.nydailynews.com/entertainment/music-arts/opera-cancels-klinghoffer-simulcasts-article-1.1833159

Metropolitan Opera cancels controversial simulcast of ‘The Death of Klinghoffer’ amid anti-Semitic fears

Anti-Defamation League worked behind the scenes to scrub the wider presentation. The 1991 play has been performed without incident before, though.

BY  Joe Dziemianowicz    /
 
NEW YORK DAILY NEWS /
 
Tuesday, June 17, 2014, 2:53 PM


 

The show must go on — but not on movie screens.

Amid escalating fears of anti-semitism, the Metropolitan Opera has cancelled plans to transmit a performance of its upcoming “The Death of Klinghoffer” to movie screens this fall.

The opera by John Adams, which premiered in the U.S. in 1991 at Brooklyn Academy of Music, traces the 1985 hijacking of the Achille Lauro cruise ship and the murder of one of its Jewish passengers, Leon Klinghoffer, by Palestinian terrorists.

“I’m convinced that the opera is not anti-Semitic,” said Met General Manager Peter Gelb. “But I’ve also become convinced that there is genuine concern in the international Jewish community that the live transmission of ‘The Death of Klinghoffer’ would be inappropriate at this time of rising anti-Semitism, particularly in Europe.”

The opera will go on as planned and premiere at the legendary opera house on Oct. 20.


Palestinian guerrilla leader Abu Abbas, who masterminded the hijacking of an Italian cruise ship in 1985 and the murder of Leon Klinghoffer.
AHMED JADALLAH/REUTERS

Palestinian guerrilla leader Abu Abbas, who masterminded the hijacking of an Italian cruise ship in 1985 and the murder of Leon Klinghoffer.


The cancellation came after discussions between the Met and the Anti-Defamation League, which represented the wishes of the Klinghoffer family.

“The opera itself is not anti-Semitic (but) there is a concern the opera could be used in foreign countries as a means to stir up anti-Israel sentiments or as a vehicle to promote anti-Semitism,” the ADL said in a statement.

The Met’s production was first seen in London at the English National Opera in 2012, and was hailed. The show went on without incident.


Read more: http://www.nydailynews.com/entertainment/music-arts/opera-cancels-klinghoffer-simulcasts-article-1.1833159#ixzz34vxh66ha

....................

Four thoughts come to mind;

1)  It's good to see that the Metropolitan Opera decided to cancel the HD component of this hideous opera regardless of what their motive is in doing so. 
2)  It's imperative that the Metropolitan Opera cancels all 8 ' performances'  of the modern day Nazi propaganda.
3.  ADL and Peter Gelb are living in a dream world or are self hating when saying the opera itself isn't anti-Semitic.
4.  CAMERA, ZOA,  AFSI, and Truth Revolt are amongst the organizations that truly made the difference in getting the Metropolitan Opera to cancel the HD showings.

[Dan193]

Here are the people financing this racist pro Arab terrorist play.
http://www.camera.org/index.asp?x_context=2&x_outlet=7&x_article=2733

OMG, Mike Bloomberg is financing this racist play.

Sponsors for the high definition televised broadcasts of "Klinghoffer" include the Bloomberg Foundation, Neubauer Family Foundation and Toll Brothers Builders, not known until now for supporting anti-Jewish, anti-Israel propaganda. Likewise, The Met is subsidized by the New York City Department of Cultural Affairs, the New York State Council on the Arts, and U.S. departments of Education and State. They ought to be appalled by any connection with this "morally tawdry" production. On Broadway, Mel Brooks' "The Producers" got a laugh about a play, "Springtime for Hitler," within the play. That's because the very concept was ridiculous. The Met's defense of producing and broadcasting "The Death of Klinghoffer" is ridiculous, but not funny. Antisemitic propaganda never is.
 
You can, using the above information as background for an effective, personalized message:
 
• Contact the Metropolitan Opera to protest the staging of this work of propaganda and its global dissemination: General manager Peter Gelb at [email protected]; Associate Press Director Sam Neuman at [email protected] or call 212-870-7457; F. Paul Driscoll, Editor of Opera News magazine at [email protected].
• Contact Fathom Events, the company that simulcasts the Met: Write to [email protected] or call 1-800-295-8587. Ask Fathom Events to decline to simulcast the offensive, bigoted opera.

• Contact sponsors of the HD simulcast:

(1) The Neubauer Family Foundation c/o Parentebeard LLC 215-947-2100.

(2) Bloomberg foundation, Ty Trippet at [email protected] and 212-617-2443, write in their Customer Support feedback form; call customer support phone number 212-318-2000; Tweet to @Bloomberg.
 
(3) Toll Brothers Sr. Vice President and Chief Marketing Officer Kira Sterling at [email protected] and 215-938-8220; call the Corporate Headquarters at 215-938-8000.
• Contact the media: Write to The New York Times at [email protected]; write to The New York Post at [email protected]; write to The New York Daily News at [email protected]; write to your local and Jewish press.

If Met leaders – board members if not Gelb and his staff – admit to themselves what the opera really is, they will act to replace the simulcast with another work. If they do not, the reputation of The Met will be stained for years to come.

 
 

[Lewinsky Stinks, Dr. Brennan Rocks]

The ADL is one of the most anti-Semitic organizations there is outside of Islam.

[muman613]

There should be some rough protestation against this antisemitic 'opera'... Something along the lines of what happened to the Soviet Ballet in the 80s...

[muman613]

Someone should make an 'opera' about the 'Death of Arafag'...

Have a hag, dressed as Arafag, in drag...

Spoutin his tacky taqiyah in a kefiyah...



Kissin Nelson Mandela on the lips, and licking it...

[muman613]

Arafat raises his snoot as he gives the nazi salute...