It is painfully obvious that an occult plan is being played out in our time. This makes no sense at all. How can this be? This is not some fringe group bringing this anti-Christian, anti-Semitic, anti-American opera to the American public but the esteemed Metropolitan Opera. Something is terribly wrong in the world today; something satanic, seeming engulfing the whole world.
It was said of Gelb that he declares himself a man of the people, but that he is out of touch with the prevailing zeitgeist (culture of the time). Noted in the Berkshire Fine Arts, Gelb lacks the qualifications to organize a program and appoint or audition singers and, despite his inexpertise, captured this Met position from the ailing James Levine. But it is Gelb’s choice of opera for the 2014 fall season that is most disturbing.
The Death of Klinghoffer was cited for being anti-Semitic and pro-Islamic terrorism, and Gelb’s integrity and moral compass are in question. Instead of eliciting compassion and tears for the murder of a defenseless, wheelchair-bound man, Mr. Leon Klinghoffer, a fellow-American and Jew, Gelb’s opera will offer sympathy and apology for the Islamic murderers – who might just as well have thrown the Jewish-American Gelb overboard, had he vacationed aboard the ill-fated Achille Lauro.
Gelb’s collaborators were director Peter Sellars and choreographer Mark Morris for concept, John Adams’ music and Alice Goodman’s libretto. The opera was commissioned by five American and European opera companies and was first performed at the Brooklyn Academy of Music. And the Met staff decided to cast ethics to the wind and fan the flames of anti-Semitism.
Rather than show concern for the victim and his family, and the other terrified, endangered tourists who were taken hostage, although ultimately spared, the artistes extol the contrived virtues of the cold-blooded killers. They have taken a pro-Islamic, anti-American/Jewish stance in favor of an avowed enemy – Islam, whose adherents repeatedly warn that they will overtake the West and establish an Islamic caliphate on our soil. And the Met’s callous staff and cast will provide the venue for the glorification of Islam, thereby softening the eventual conquest of an acclimatized people.
Would these soulless specimens sympathize with these Muslims if the victim were also their own family member or religious compadre? Did they likewise sympathize with the Mahmoud Abbas-financed and -orchestrated Munich Massacre of 11 Israeli athletes? Or the Muslims who commandeered the planes that killed three thousand in the World Trade Center? Or the Boston Marathon jihadists who killed three and injured/crippled 264 racers? Or Major Hassan who fatally shot 13 and injured more than 30 at Fort Hood? Would the Met also consider providing sophisticated entertainment while reproducing the beheading of Jewish-American journalist, Daniel Pearl? Or blowing up a school bus of children in Chechnya or Israel? Perhaps Gelb would consider a choral group of 200 young girls for an opera about the Boko Haram kidnappings in Nigeria? What other inspiration might one select for musical adventures into the exaltation of Islam and its adherents for the pleasure of the unenlightened?