The Nazis are laughing at America from their graves right now, laughing at the Metropolitan opera because it has been duped and played a fool.
Why are we here today? Because we’re opera critics? No. It doesn’t take a professional critic to know that lyrics like “America is one big Jew” aren’t the least bit tasteful.
An opera that calls us “all kinds of filth” and accuses us Jews, of being greedy, sodomizing blasphemers with watches of solid gold and “getting fat wherever poor men are gathered.” Lyrics like that aren’t creative, they’re not even unique, and they’re shoddy plagiarism, recycled Islamist Nazi racist propaganda. It doesn’t take brains to put that kind of filth to music
Are we here because we don’t like free speech? The opposite. It’s the first amendment that gives us our right to assemble here, to protest, to express our disgust at how our taxpayer dollars are being used to fund terror apologism deceptively wrapped in the veneer of art.
The MET has no first amendment obligation to stage this bigotry. It’s their intentional choice! Perhaps it’s a choice influenced by the Wahhabi dollars feeding this mismanaged and bankrupt institution.
Perhaps Saudi minister Ibrahim Al-Naimi, one of the MET’s principle sponsors, can explain the hypocrisy of the Wahhabi Kingdom playing distinguished patron to the American arts, while at the same time beheading their own citizens for blasphemy, imprisoning and torturing atheists, and executing their own children for being gay like it’s a public sport.
Saudi Arabia’s ministers control the most censored media environment in the world.
Are we to believe these men are such great opera fans that we should feel privileged to serve them a pro-terror performance on a silver platter?
Perhaps the MET’s catering to their clientele in Lebanon, Morocco and Dubai, where opera is now seeking a new audience through its digital sales and broadcasts, their HD season for the Middle East conveniently opened with Wagner’s “Rheingold.”
How on earth can we take Peter Gelb seriously when he cancels the live broadcast of the performance out of fear that its going to spark a wave of violence and anti Semitism, and then he turns around and tries to convince us to buy tickets and watch this travesty?
As the grand-daughter of holocaust survivors, I never understood how a seemingly civilized society could romanticize genocide, how people could just turn on their neighbors because of race or religion and murder them in cold blood.
Yet this opera doesn’t help me understand the motive of the terrorist, as its authors claim it should, it helps me understand how democratic societies commit suicide – when they start to stage, and sing and draw moral equivalencies between terrorists and their victims.
This opera does not come out of a vacuum!