The Death of Klinghoffer, an opera that aims to create sympathy for the terrorist hijackers of the Achille Lauro, returns to the New York Metropolitan. . .

In an interviewed with Israeli conductor Arik Vardi, the acclaimed piano virtuoso discusses growing up as a prodigy in the Soviet Union and playing soccer. . .

For the country-music giant, the land of Israel was both religiously symbolic and a real place whose people needed moral and political support.

In mangled Hebrew, a Hamas music video calls for the genocide of Jews; why has it become an Israeli hit? 

In addition to its poisonous political effects in Germany, the composer’s anti-Semitism helped solidify anti-Jewish myths in Western music that persist to this day. 

Roger Waters’s claim that “the Jewish lobby” in the music industry leaves people terrified for their lives suggests that there is more to his anti-Zionism than anti-Zionism.

Explaining his decision to take Israeli citizenship, the piano virtuoso Evgeny Kissin states: “I do not want to be spared the troubles which Israeli musicians. . .

Despite his contemptible beliefs and reprehensible behavior, the composer made a unique contribution to the world of music and expanded our awareness of human possibility.

Never, in two centuries of either classical music or organized sport, had a major player crossed from one to the other and back—until Israeli soccer. . .