Opera Buff Phylis Chesler Repulsed By the Met's Latest Production, Parts of Which Remind Her of Nazi Propaganda

She writes that the opera's libretto

 is not even-handed. The villains have more lines.

For example, the terrorists command 11 arias — 12, with the “Chorus of Exiled Palestinians.” The Klinghoffers have two arias each, toward the end of the opera; add the exiled Jewish chorus and you have five arias for the innocent victims versus 12 for their victimizers. 

And better lines: The Palestinians sing: “My father’s house was razed / in nineteen forty-eight / when the Israelis passed / Over our street.” 

The Jews sing: “When I paid off the taxi, I had no money left.” 

Indeed, the obsession with Jews and money is reminiscent of Nazi propaganda. The terrorist Rambo sings: “But wherever poor men / Are gathered they can / Find Jews getting fat . . . America / Is one big Jew.” 

Pretty catchy, no? As is the Met's advertising slogan ("See it. Then decide") As is Zionhass in general. But wait--it gets worse:

Leon Klinghoffer had suffered several strokes. He lacked full use of his hands, his legs were paralyzed, his speech slurred — and this is whom Molqui murders and throws overboard with his wheelchair. 

Only a dead and murdered Jew — “Leon Klinghoffer’s body” — is allowed to sing his death with some measure of grace (although most of the lyrics are incomprehensible).

"Leon Klinghoffer's body" sings? Along with being grotesque, that is seriously messed up.