Controversy and Artistic Expression: The Case of “The Death of Klinghoffer”

The 2014 premiere of John Adams’s opera The Death of Klinghoffer at the Metropolitan Opera was met with intense protests. The opera narrates the 1985 hijacking of the cruise ship Achille Lauro by Palestinian terrorists, focusing on the tragic murder of Leon Klinghoffer, a wheelchair-bound Jewish American passenger. Since its debut in 1991, the work has ignited fierce debates over its portrayal of terrorism and its political implications.

During the 2014 opening night, demonstrators, many unfamiliar with the opera’s libretto, accused it of antisemitism and sympathizing with terrorists. They shouted slogans like “Shame!” and interrupted the performance with chants, including a persistent protester who repeatedly declared, “The murder of Klinghoffer can never be forgiven!” Their objections centered on the belief that the opera’s depiction of Palestinian suffering and violence implicitly justified or endorsed the terrorists’ actions.

This controversy echoes earlier reactions, notably in the aftermath of September 11, 2001, when a planned performance of the opera’s opening choruses was canceled by the Boston Symphony. Renowned musicologist Richard Taruskin publicly condemned the work in a New York Times essay, arguing that Klinghoffer used music to romanticize terrorism, asserting that the emotional power of music can influence moral perceptions-an influence Adams has harnessed throughout his career.

The Moral Complexity Embedded in Adams’s Music

Adams’s compositional style often confronts moral ambiguity, blending emotionally charged music with challenging subject matter. Unlike traditional opera, which often seeks emotional resolution, Adams’s works frequently undermine comfort and certainty. For instance, in Klinghoffer, the serene tone of the ship’s captain is contrasted with the voice of Klinghoffer’s wife, who criticizes the captain’s conciliatory attitude toward the terrorists. Similarly, a terrorist’s declaration of having “ideals” is undercut by a depiction of a frightened child, emphasizing the human cost behind ideological narratives.

This tension-between beauty and discomfort, harmony and dissonance-pervades Adams’s oeuvre. His music often reflects the complexities of contemporary social and political issues, making his compositions not just artistic statements but also reflections of societal struggles. Despite protests and controversy, Adams’s work exemplifies how art can serve as a mirror to the moral dilemmas of our time.

From Avant-Garde to Accessible Narratives

Adams’s early training at Harvard under modernist mentors aimed at breaking away from traditional tonal hierarchies, favoring avant-garde techniques. However, after years immersed in the experimental music scene of 1970s San Francisco, a pivotal encounter with Richard Wagner’s lush harmonies led Adams to revisit romanticism’s expressive power. He combined this with minimalist influences from Terry Riley, Philip Glass, and Steve Reich, creating a distinctive style that marries tonal richness with hypnotic repetition.

This synthesis allowed Adams to craft emotionally compelling music that remains accessible to broad audiences. His breakthrough came with Nixon in China (1987), a surreal yet captivating opera depicting Nixon’s historic visit to China. This success was followed by works like Klinghoffer, and later compositions such as El Niño (2000), which explores the Virgin Mary’s story from a migrant’s perspective, and Doctor Atomic (2005), reflecting fears surrounding nuclear proliferation. These pieces demonstrate Adams’s ongoing engagement with political and social themes through a musical language rooted in both tradition and innovation.

Recognition and the Paradox of Popularity

Despite his significant contributions, Adams’s recognition outside the classical sphere remains limited. His works, often politically charged or emotionally intense, have faced resistance within the traditional concert hall environment. The saga of Klinghoffer exemplifies this-while it remains a staple in contemporary opera houses, it has not achieved widespread mainstream fame comparable to other American composers like John Williams or Philip Glass.

In a 2006 review, Pitchfork noted that Adams, despite creating some of the most resonant American compositions of the past quarter-century, remains relatively unknown to the general public. Yet, at 78, Adams continues to thrive within the classical establishment, receiving commissions and collaborating with leading artists. His current project, a new production of Antony and Cleopatra at the Metropolitan Opera, exemplifies his enduring influence.

The Artistic Identity of John Adams

Unlike composers who emerged from avant-garde circles or Hollywood studios, Adams’s strength lies in his mastery of live performance and opera. His music’s visceral power is most potent in concert halls, where the immediacy of live execution amplifies its emotional impact. His accessible musical language, characterized by clear melodies and rhythmic vitality, appeals to large audiences, yet his works often contain subtle subversions and complex layers that reward attentive listening.

Despite his widespread success, Adams tends to eschew overt political labels. He resists framing himself as a political composer, preferring to let his music speak for itself. Public statements about his work are often vague, emphasizing social commentary rather than explicit ideology. As bass-baritone Gerald Finley remarked, Adams has made opera “a vehicle for social reflection,” a description that captures the nuanced nature of his artistic vision.

Legacy and Future Directions

While Adams’s most recent works are less overtly political, his influence on contemporary classical music is undeniable. His ability to fuse emotional depth with social relevance has expanded the expressive possibilities of modern composition. As he continues to shape the repertoire-his upcoming Antony and Cleopatra at the Met exemplifies this-his legacy as a composer who challenges conventions and provokes thought remains secure.

In the broader cultural landscape, Adams’s music exemplifies how art can serve as a powerful tool for understanding complex societal issues. His compositions remind us that music’s capacity to evoke feeling is not just a form of entertainment but a vital means of engaging with the moral and political fabric of our world.