The opening night for the Metropolitan Opera’s production of The Death of Klinghoffer came and went. The protesters dissented and few even attempted to disrupt the performance albeit, fortunately, to no avail. If nothing else, the media storm attached to this particular performance will hopefully serve as the high water mark for John Adams’ embattled work and from here on out, protests will drift away to nothing more than occasional “remember when” style musings.
If you’re looking for a good overview of not only the opening night but some insightful commentary on the larger issues, make sure you don’t miss Alex Ross’ article in the 11/3/2014 edition of The New Yorker. Simply put, it’s a seminal piece of writing that accomplishes the enormously difficult task of condensing a sprawling topic into a meaning, yet concise, piece of knowledgeable commentary.
The opening night for the Metropolitan Opera’s production of The Death of Klinghoffer came and went. The protesters dissented and few even attempted to disrupt the performance albeit, fortunately, to no avail. If nothing else, the media storm attached to this particular performance will hopefully serve as the high water mark for John Adams’ embattled work and from here on out, protests will drift away to nothing more than occasional “remember when” style musings.
