There is nothing inherently wrong with making an opera about a terrorist attack, argues Walter Russell Mead in his review of the Met’s production of. . .
The Death of Klinghoffer elevates criminal pathology and is an insult to opera, music, and art.
By reviving a work that whitewashes terrorism, the Metropolitan Opera affronts not only Jews but also New York City, site of the murder of 3,000 innocents.