There were protests outside and boos inside as conductor David Robertson raised his baton.
And when the Metropolitan Opera premiere of “The Death of Klinghoffer” was over, there was a standing ovation.
It is that kind of opera, even 23 years after its world premiere .
It is controversial for its depiction of the killing of Leon Klinghoffer, a Jewish-American from New York who is shot to death and dumped overboard when Palestinian terrorists hijacked a cruise ship in 1985. But the opera is also captivating for the undeniable beauty of its haunting score. In short, it is a stirring piece of work that leaves one shaken.
Inspired by the true events, composer John Adams and librettist Alice Goodman tell the story from several perspectives, including that of Klinghoffer and his wife, and those of other passengers, the ship’s captain and the four terrorists.
Tom Morris’ effective production for the Met, a joint venture with the English National Opera, where “Klinghoffer” ran in 2012, makes strong use of projections, especially images of cascading and rolling water.
The opening moments etablish tribal rivalries between Palestinians, with green flags, and Israelis, with olive trees, in separate scenarios filled with soaring choral work. It sets the stage for simmering tension that is only occasionally interrupted.
Performed by a superb cast, the production is anchored by Paulo Szot, who plays the captain. He brings great emotion to the role, in trying unsuccessfully to reason with the terrorists. Sean Panikkar, Aubrey Allicock and Ryan Speedo Green sing the roles of the terrorists with great conviction. Jesse Kovarsky is truly terrifying as the terrorist who pulls the trigger.
The roles of Klinghoffer and his wife, Marilyn, are played by Alan Opie, who has a meditative aria following his murder, and Michaela Martens, whose final aria is filled with anguish and loss. She has the last word, and rightly so.
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