The Lubavitcher Rebbe has not been with us physically for 20 years. But his message of love, of areivut (serving as a guarantor for other Jews), of love of God and His people, of never judging fellow Jews and valuing their tiniest actions and steps, continue in perpetuity. (“Twenty Years After, Rebbe Still Inspires,” June 27)
Roberta and Josef Flaschner |
In reference to the Klinghoffer opera, composer John Adams felt it was a way to discuss the Israeli-Palestinian conflict.
Firstly Mr. Klinghoffer had nothing to do with the conflict. He was not even an Israeli, but a handicapped elderly American who happened to be Jewish. To stereotype a race or religion is prejudice. Hiding behind artistic freedom doesn’t make it less so.
“The Murder of Emmett Till” might, if properly constructed, be a true work of art. But if canceled [because it portrayed a lynching in the South], Anthony Thomassini of the New York Times would probably lament that it “could have been an invaluable teaching moment for the Met and its audiences.” That’s what he wrote about the cancellation of the simulcast of “The Death of Klinghoffer.” (“High Drama Over ‘Klinghoffer’ Opera,” June 27.) It would have been a valuable opportunity to consider the feelings of the white supremacists and “explore their suffering.”
I was very pleased to see The Jewish Week’s special section on Sephardim in New York (June 27). This is a long overdue story, as what is happening in New York is nothing less than the revival and flourishing of an ancient tradition in a modern context.
The New York Times chief classical music critic feels that the “Klinghoffer” opera is an attempt to explore the suffering of the Palestinians; and the Times feels that the opera “gives voice to all sides” in this act of terrorism should not have been cancelled in any way because “art can be provocative and controversial.” And the author, John Adams, feels that the Palestinians “are still human beings and there still has to be reasons why they did this act.”